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T. S. DENISON & COMPANY. 154 W. Randolph SU Chicago 



LEXINGTON 



^ DRAMA OF THE REVOLUTIONARY WAR 
IN FOUR ACTS 

FOUNDED ON THE RIDE OF PAUL REVERE 



BY 

E. J. WHISLER 

AUTHOR OF 

"A Trick Dollar " Etc. 



CHICAGO 

T. S. DENISON & COMPANY 

Publishers 



LEXINGTON v5tl^ 



CIIARACTI'.RS. * 

Paul Revere .4 Patriot 

John Leslie I Friend of Revere 

JoSL\H CoTTRiciJ rro[^rictor of the Gray ITolf Inn 

Edward Curtls / Blacksniith 

Seth Snaggsuy Tlie Ullage Toper 

Captain Willougiihv ./ Britisli Free Lance 

Lieut. Fairfield. . , 



Lieut. Ogline j • • • • ^'''^''^' ^"^'^'"'' 

Remus Negro Ser7'ant at the Inn 

Dorothy Maddern Reirre's Betrothed 

Polly Cottrell A Friend of Dorothy 

Mrs. Maddern Dorothy's Mother 

Matilda Colored Serz'ant at the Maddern' s 



Time— April, 1775. 



Time of Playl\g — .Iboiit Tzvo Hours and Fifteen Minutes. 



SYNOPSIS. 

Act I : The Gray Wolf Inn, Boston. Evening. 
Act II: The same. The next morning. 
xA.CT III : Scene I — Across the Charles River from Boston 
Midnight. 
Scene II — The Maddern home at Lexington. One 
hour later. 
Act I\' : The Madde-rn home. The next day. 



Notice. — Production of this play is free to amateurs, but the sole 
professional rights are reserved by the Publishers. 



COPYRIGHT, 1912, by EBEN H. NORRIS. 

2 

TMP92-007524 

©CI.D 3()5bo 



LEXINGTON. ■ 3 

SYNOPSIS FOR PROGRAM. 

Act I — Snaggsby is refused liquor at the ale house and 
Ogline makes an acquaintance. Dorothy learns a new song". 
"My soul for a glass of rum !" Snaggsby sells the secret of 
the powder. Paul and Dorothy quarrel. "I will spare 
you the pain of meeting my friends." Willoughby goes 
traveling. Curtis refuses to serve the British. 'TU show 
you whether you will shoe my horse or not !" Paul to his 
assistance. "If you harm one hair of her head, I'll kill you !" 

Act II — Remus samples the wine. Willoughby plans to 
revenge himself. Dorothy starts for home. "Polly, take 
care of my girl." Paul discovers Snaggsby's treachery. "I 
could kill you, you spawn of hell!" Paul plans to check- 
mate the British. "If I can prevent it you will not take 
that ride." 

Act III — Scene I: The ambush. "Take Revere, dead 
or alive." The signal. "In the king's name, surrender!" 
Fairfield is killed. "The war is on !" The pursuit. 

Act III — Scene II : Dorothy gives a party. A call in 
the nig-ht. "To arms, minute men !" Paul is pursued by the 
British. The knock at the door. "Let me save you." Wil- 
loughby searches for Revere. The discovery. "Oh, you have 
killed him !" Dorothy plans for Revere's escape. Leslie to 
the rescue. "I am going to finish Revere's ride and save 
him !" 

Act IV — The battle. Matilda hides in the closet. "I's 
been in de closet ever since." Curtis is wounded. News of 
the battle. Leslie comes for breakfast. Paul and Dorothy 
are reconciled. "I love you more than my own soul !" The 
rleath of Curtis. "Another martyr." Willoughby attempts 
Revere's life. "You are a prisoner of war." 

CHARACTERS AND COSTUMES. 

Revere — Juvenile lead. Colonial costume : Knee breeches, 
soft leather boots, knee length ; wig, three-cornered hat. 

Leslie — Juvenile part, about 20 years of age. Dresses 
like Revere, with exception of boots, in lieu of which he 
wears stockings and low shoes. 



4 ■ LEXIXGTUX. 

CoTTRELL — Character: A man of about 55, well built, 
but showing his years in both face and carriage. Knee 
breeches, stockings and slippers ; short coat with apron in 
Acts I and II ; changing to long Colonial coat in Act IV. 
Wig and three-cornered hat. 

Curtis — Old man, age about 60 ; years of hard work 
show in his face, but he is still strong and well able to work. 
Acts I and II, knee breeches, stockings and low shoes; soft 
shirt, no coat ; blacksmith's apron, wig and three-cornered 
hat. Act I\", regular Colonial coat is worn and the apron 
left off. 

Snaggsby — Eccentric- character part. About 50 years of 
age; the marks of dissipation written all over him, the 
nervous ague stricken appearance of a habitual drinker de- 
prived of his cup. His face should be heavily made up for 
lines and hollows. Regulation Colonial costume, except that 
same is very old, soiled and in places patched, in others torn 
but not patched. 

WiLLOUGiiBY — British officer's uniform of the period. 

Ogline and Fairfield — Uniform of privates in the Brit- 
ish army of that period. 

Remus — Darky, about 40 years of age. Knee breeches, 
stockings and low shoes ; short jacket and white apron ; 
black negro wig. 

Dorothy — Juvenile lead, strong willed, passionate in likes 
and dislikes, but with loyal heart. Two costumes, one for 
Acts I and II and another for Acts III and IV. First cos- 
tume : Tuck-up of the period, very simple, for riding ; with 
slippers and stockings to match ; powdered hair and poke 
bonnet. Second costume similar to the first, but much more 
elaborate, and made of satin, with satin slippers and silk 
stockings to match gown ; powdered hair done court style, 
with no headgear. 

Polly — Juvenile, age about 18. Dresses similar to Dor- 
othy in style, but of course different in material and color. 

]\Irs. Maddern — Elderly lady of about 50, very practical 
in manner, not easily excited. Act III, powdered hair and 
a long flowing chamber robe, with slippers to match. Act 



LEXINGTON. 5 

V, tuck-up gown of the period, made very simply, in quiet 
)ecoming- colors ; powdered hair, 

Ma'iilda — Darky, age about 40 ; heavy but not grossly 
■at (this is not a low comedy part) ; her work should be 
latural and not overdone ; gray darky's wig ; large heavy 
hoes ; plain simple servant's dress, with large apron ; not 
: fancy apron, but a large serviceable, ordinary one. 

Note. — By referring to almost any public school history 
)f the United States, many plates will be found which will 
)e invaluable in dressing this play. 

PROPERTY LIST. 

Act I — Three tables, seven chairs, fireplace, glow, cur- 
ains for window, spinnet or piano, glasses, bottles, coins 
or Ogline, sword and coins for Willoughby. 

Act II — Same props as Act I. Coin for Willoughby, 
)ackages for Dorothy, packages for Polly, packages for 
^eslie. 

Act III — Scene I : Sign to read, "Lexington 25 miles ;" 
^un for Fairfield ; gun and pistol for Ogline ; pistol for 
?.evere ; hoofbeat effect. Bell to strike. 

Act III — Scene II : One table, three chairs, curtains for 
vindow, sword hung on wall, R. ; glass of wine ; candle for 
ilrs. Maddern. Hoofbeat effect. Pistol for Revere ; sword 
.nd clothes for Willoughby. 

Act IV — Same props as for Scene II, Act III. Blood 
tained bandage for Curtis. Pistol and sword for Wil- 
oughby. Sling for Revere. 



LEXINGTON. 



STAGE SETTINGS. 
Acts T and II. 




D 

□ 0a 



D©o 



a©a 




a 


Exterior backing. 


1) 


Interior 1)ackiiig. 


c 


Tables and cbairs 


d 


Fireplace. 


c 


Windows. 


f 


Doors. 



Act III, Scene II, and Act IV. 




a Interior backing. 

b Exterior, garden, backing. 

c Large recessed window, with seat. 

d Doors. 

e Stairway, running off R. 

f Chairs. 

g Table. 

h Door under stairway, opening on a closet. 

STAGE DIRECTIONS. 
R. means right of the stage ; C, center ; R. C, right cen- 
ter ; L., left; R. D., right door; L. D., left door, etc. ; 1 E., 
first entrance; U. E., upper entrance, etc.; D. E., door in 
flat or scene running across the back of the stage ; 1 C, first 
groove, etc. The actor is supposed to be facing the audience. 



LEXINGTON 



Act I — Interior of the Gray Wolf I mi. Door L. 2 E. and 
irge door R. U . E., set at an angle, running to L. Large 
jitare zvindow in Hat, with heavy curtains, zvhicli are draivn 
ctck. Large fireplace in fiat L. of windoiv, zvith a gloiv 
fireplace not required in the action, but will add much to 
le atmosphere). E.vterior street or woods backing for door 
'. U. E. and windozv in fiat. Interior backing for door L. 

E. Tables zvith chairs around them stand dozvn R., down 
, and in front of zvindozv. Red sunset effect off stage, 
tage lights half up. 

Discover Cottrell seated L. of table dozvn L., smoking 
pipe. Music, "Yankee Doodle" for citrtain. 

Enter Curtis, R. U. E. 

Cottrell. Good evening, Curtis. 

Curtis. Good evening, Cottrell. Taking an evening 
Tioke? 

Cottrell. Aye. Will you join me? 

Curtis. No. Thank ye kindly. I just came over for a 
lass of grog. (Sits R. of table.) 

Cottrell (calls). Remus! Remus! 

Remus (off stage). Comin', comin, Massa Cottrell. 

Cottrell. It's a wonderfully fine evening, isn't it? 

Curtis. Delightful. These early sji^ing evenings are 
ery pleasant. 

Enter Remus, L. 2 E. 

Remus, Here I is, Massa Cottrell. 

Cottrell. Fetch Mr. Curtis a glass of grog, Remus. 

Remus. Yes, sah ; yes, sah. (Exit L. 2 E.) 

Curtis. The English soldiers seem to be enjoying the 
weather. They are promenading up and down the streets- 
bitterly) as though they owned the place. 

7 



8 LEXJXGTON. 

CoTTRELL. Aye, they are manifesting more assurance 
than affairs would seem to warrant. But wait, Curtis, wait. 
We must be patient. 

Curtis. Patient! Have we not been patient? What 
haven't we endured throuj^h all these black years? 

CoTTRELL. Yes, I know ; but it can't last much longer. 

Enter ReTvius, L. 2 E., with a glass of grog, ivhich he 
places before Curtis. 

Remus. Here's your grog, Massa Curtis. (Curtis 
reaches for his pocket.) 

CoTTRELL. No, uo, Curtis ; this is my treat, ^'ou may 
go, Remus. 

Remus. Yes, sah. (Exit, L.2 E.) 

CoTTRELL. Hast heard any news today? 

Curtis. Nothing. The redcoats seem to be keeping 
quiet. 

Cottrell. They may be keeping quiet, but they had best 
be watched. If they're not working mischief, they're plan- 
ning it, I'll warrant ye. 

Curtis. They arc being watched. 

Cottrell. Yes? How so? 

Curtis. The young men have formed a vigilance com- 
mittee and at night they patrol the streets, keeping watch. 
If there's any mischief brewing, we'll hear of it, ye may 
depend on it. 

Cottrell. 'Tis a wise move. Who instituted it ? 

Curtis. Paul Revere. 

Cottrell. Ah, Curtis. There's a young man who is 
doing much for the cause. 

Curtis. Ye speak truly. A braver, more loyal young 
man to the cause it would be hard to find. 

Cottrell. Yes, and thank God there are many more 
who are just as earnest, just as anxious to see us freed 
from the yoke of oppression as — 

Curtis {fingers to lips). S — h! 

Enter Ogline, R. U. E., swaggering. 

Ogline. Good evening, landlord. 



LEXINGTON. 9 

CoTTRELL (shortly). Good evening. 

Ogline (to Curtis). Good evening, sir. 

Curtis (shortly). Good evening. 

Ogline. Pleasant evening. 

Curtis (shortly). Very pleasant 

Ogline. They say, landlord, that your sling is the best 
n this part of the country and that your arrack punch is 
lot to be equalled. 

Cottrell (shortly). They're very kind. 

Ogline (sits L. of tabic, doivn R.). Egad, I hope it's 
o, for not a drop of liquor fit to drink has passed my lips 
ince I came over. 

Curtis. Then why not go back where ye came from ? 
.Ve can spare ye. 

Ogline. Would that going back were a matter of my 
)wn volition. Not long would I tarry here, I promise you. 

Cottrell. I take it from your remarks that ye wish 
Irink. 

Ogline. And right you are. The best your house affords. 

Cottrell. Remus ! Remus ! 

E)itcr Remus, L. 2 E. 

Remus. Yes sah. 

Cottrell. Attend to this gentleman's wants. 

Remus. Yes, sah. (Crosses to Ogline, takes his order, 
uid durin^!; the ensuing dialogue exits, L. 2 E., reappears 
vith liquor for Ogline and exits, L. 2 E.) 

Enter Snaggsby, R. U. E. 

Snaggsby. Good evening, Cottrell. 

Cottrell. Good evening, Seth. 

Snaggsby. I'd like to speak to you private a minute. 
'Cottrell rises and crosses to C. Snaggsby whispers in 
lis ear.) 

Cottrell (shaking his head). No. Seth, I can't do it. 

Snaggsby. For old times' sake, Cottrell. 

Cottrell. Seth, I would like to. but it is impossible. 

Snaggsby. But just a drop — just a drop, Cottrell. 



10 LEXINGTON. 

CoTTRKLL. No, Scth ; you know what the law is. 

Sn.xcu^.sp.y (desperately). I know; I know; but, Cottrell, 
Fill hurnino- up. I'm on fire ! Just a drop ! 

CoTTKKLL. I know it's hard for ye, Seth, and it's hard 
for me to refuse ye, but the law doesn't permit me to sell 
to — (stops, embarrassed). 

Snaggsby (after a short pause). To drunkards! I'm a 
drunkard ; I know it, Cottrell ; but this thirst, this awful 
thirst. It's maddening-. Just a drop, Cottrell — 

Cottrell. No, no. 

Snaggsby. Just a drop; for God's sake, just a drop! 

Cottrell. No, Seth, I can't — 

Ogline. Here, my g-ood fellow, if it's rum you want — 
(Snaggsby rushes toivard him and Cottrell steps hetzveen 
them.) 

Cottrell. Stop ! Your offer, sir, is no doubt kindly 
meant, but under our laws drunkards are not permitted to 
be g-iven drink. 

Ogline (sneeriii_^). Your laws! \\''hat laws have you? 
(Snaggsi5Y withdrazvs and sits at fable up sfa^a^e.) 

Cottrell. We have enough laws, sir, and men enough 
behind them to show King- George that we are not to be 
g-overned by his soldiers. 

Ogline (rising). There, there, landlord, there is no use 
in flaming up so. 'Twas only an idle jest on my part. 
Your liquor justifies all that has been said of it. Here's 
payment. (Hands Cottrell eoin and e.vits, R. IJ. E.) 

Curtis. I like not the idea of accommodating- these 
soldiers. 

Cottrell. No more do T. 

Curtis. Then why do ye do it? They're foes of ours, 
Cottrell. 

Cottrell. T know, Curtis : but this is a public inn and 
I must treat friend and foe alike. 

Curtis. Public inn or no public inn, I would refuse 
them. I am a blacksmith, Cottrell, and if a redcoat should 
ask me tonight to shoe his horse I would refuse him. 



LEXINGTON. 11 

CoTTRELL. But you must not forget that our positions 
are somewhat different. 

Curtis. How so? Are we not both opposed to a com- 
mon enemy ? 

CoTTRELL. True. Cut you are a single man, whilst I 
have a wife and daughter to support and consider. 

Curtis. Ah, yes, I hadn't thought of that. 

CoTTRELL (crosses and sits L. of tabic dozvn L.). Did ye 
note how the redcoat backed down? 

Curtis. Aye. They're all arrant cowards. 

CoTTRELL. But wc'U have to prove it to them before 
they'll believe it. 

Curtis. We'll prove it to them, Cottrell. Mark my 
words. We are even now preparing to prove it. 

Cottrell. So I understand. What progress is being 
made? 

Curtis. Excellent. Companies of minute men have 
been organized, they have been drilling in secret, and they 
are now ready to rise and fight at a moment's notice. 

Cottrell. But what about supplies ? 

Curtis. A large quantity of ammunition, sufficient for 
almost any emergency, has been accumulated, and the en- 
tire supply is now stored at Concord. (Dorothy bci^ins to 
play an old spinnet off stage, L. If a spinnet cannot be 
obtained, a piano should be used. After the playing has 
ceased.) Your daughter plays the spinnet with rare skill. 

Cottrell. 'Twas not my daughter playing. 

Curtis. No ? 

Cottrell. 'Twas Mii^tress Dorothy Aladdern of Lex- 
ington. 

Curtis. Dorothy Maddern, young Revere's betrothed? 

Cottrell. The same. She has been visiting at Ply- 
mouth, and on her way home stopped to spend tonight with 
my Polly. 

Curtis. I have never seen her, but I hear she is a 
charming girl. • 

Cottrell. She is fascinating, Curtis; fascinating as sin. 



12 LEXIXGTON. 

But she's wilful, wilful, and it may get her into trouble. 
I hope not. 

Curtis (risitig). Well, I must be getting home. I have 
already tarried too long. 

CoTTRELL (rising). Why this haste? 

Curtis. Old age, Cottrell ; old age ; that's it. The older 
I grow, the better I like my bed. 

Cottreli.. Don't rush ofif so. It's early. Come with me 
to the cellar and I'll introduce you to a vintage I do not 
set before the general public. 

Curtis. Ah, well. You know I cannot decline such an 
invitation. (They exit, L. 2 E. After a moment Snaggsp.y, 
ivho has been sitting zvith his head laid on his arms, looks 
up.) 

Snaggsby (hoarsely). Rum! Rum! ]\Iy soul for a glass 
of rum! (His head drops again on his arms.) 

F.nter Ogline and Fairfield, R. U. E. They stop and 
stand, Fairfield L. C, Ogline C. 

Ogline. Well, landlord, I have brought a friend to 
sample your — ah, the landlord doesn't seem to be ]:)resent. 
(Discovers Snaggsby.) Perhaps this gentleman — I say, 
you! 

Snaggsby' (/ooH;/o- up). Well? 

Ogline. Can you enlighten us as to the landlord's 
whereabouts ? 

Snaggsby. Yes, I can enlighten you as to the landlord's 
whereabouts, and I can enlighten you upon other matters. 

Ogline. I have no doubt of that. Where is the land- 
lord? 

Snaggsby. I can tell you something that your comman- 
der-in-chief would give his head to know. 

Ogline. It must be something very interesting, for I 
assure you our commander-in-chief places a most extraor- 
dinary value upon his head. 

Snaggsby. No doubt he does. But at the same time it's 
something — 

Ogline. Enough of that. Where is the landlord? 



LEXINGTON. 13 

Fairfield. Who is this fellow ? 

Ogline. Quite a character about here. The village to- 
per. 

Fairfield. Drunk, I suppose. 

Ogline. I dare say. 

Snaggsby. I can tell you where the entire ammunition 
of the continental soldiers is stored. 

Ogline. Come, come, my good fellow. Cease your 
drunken babbling and tell us where to find the landlord. 

Snaggsby (rising). I am not drunk, and I am not bab- 
bling, and I know where the ammunition is stored. 

Fairfield {excitedly). Look, Ogline. The fellow speaks 
the truth. He is as sober as you or I ! 

Ogline. Why are you so anxious to dispose of this 
secret ? 

Snaggsby. Because I must have rum, and rum I will 
have ! 

Fairfield. Then why not buy it? 

Snaggsby. Because they will not sell it to a drunkard. 

Ogline {excitedly). It's the truth, Fairfield! He was 
refused it in this room not fifteen minutes past. {To 
Snaggsby.) You are positive you know where this ammu- 
nition is stored? 

Snaggsby. I swear I do ! 

Fairfield. This is not a trick of the damned rebels — 

Snaggsby. No, no! 

Fairfield. For if it is, you will suffer with us. Til see 
to that. 

Snaggsby. It's no trick ; it's no trick. I hate them. 
What have they done for me? They won't even give me a 
drink when my soul's on fire with thirst ! 

Ogline. What is this information worth? 

Snaggsby. What will you give? 

Ogline. An hundred pounds. 

Snaggsby. Not enough. 

Fairfield. Two hundred pounds! 

Snaggsby. No. 

Ogline. A thousand pounds! 



14 



LEXINGTON. 



Snaggsby. Money will not buy it. All the wealth of 
Eng-land would not tempt me ! What is money to me but a 
mockery, when it will not buy me what my soul craves? 
Money? Bah! No, you must pay me in rum, I tell you — 
rujii! (He staggers fonvard, clutches at his head and heart 
and then falls back into Ogline's amis, ivho helps hitn to 
a chair L. of table up C.) 

Ogline. Quick ! Bring me liquor. 'Tis what he needs. 
(Fairfield iills a glass from bottle on table dozvn L. and 
hands it to Ogline, who gives it to Snaggsby.) 

Snaggsby. There : that's better. Just one more drink. 

Fairfield. Not until you tell us where the ammunition 
is. Then you shall have your fill, and more. 

Snaggsby. Then I'll tell you. It is at Concord! Now, 
give me drink; give me drink! 

Ogline. Not so fast, my friend. We will have a little 
conference with our commander first. Come. (Fairfield 
and Ogline assist Snaggsby to his feet and lead him off 
stage, R. U. E.) 

Dorothy (at the spinnct, sings the folloiving jingle off 
stage, L.) 




M^m^t 



There once was a jol - ly old salt who lived on the 



^^^^^^^m^^ 



broad and bounding sea, sir; His gait was rock- ing and his 



M . C s- •- 



5=i 



3: 



P 



voice was 'gruff as a - ny voice could be, sir, But 



^^^^m0^^^ 



he had a ver - y mer - ry way with him, and a 



LEXINGTON. 



15 



mi 



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heart that was light and free, sir, And he said "Of all the 




il^il=3 



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11 



lives there be 



tars is the life for me 



Enter Dorothy and Polly, L. 2 E. 

Polly (sits L. table dozvn L.). Where did you learn 
that song, Dorothy ? I never heard you sing it before ? 

Dorothy. It is a new song that is getting about. I 
heard a soldier sing it down at Plymouth. A captain, he 
was. (Sits R. of table.) 

Polly (teasing). You only heard him sing it, and yet 
you remember the words. (Shakes her finger.) Fie, fie, 
Dorothy. 

Dorothy. Well, then, he taught it to me, Polly, if you 
must know. 

Polly. I didn't think our captains had any time to be 
learning and teaching songs. 

Dorothy (tossing her head). Our captains! Indeed! 
This was a British officer. 

Polly. Why, Dorothy ! What would Paul say if he 
knew you had been receiving attentions from a British 
officer? 

Dorothy. I don't care what Paul would say ! 

Polly (aghast). Dorothy! 

Dorothy. I mean it. Paul is becoming too dictatorial. 
One would imagine we were already married, the way he 
orders me about. It is always, "You must not speak to so 
and so," or "Dorothy, I would rather you would not have 
anything to do with so and so." 

Polly. Why, Dorothy, I don't think Paul orders you 
about. No one could ever love you more tenderly than he 
does. 



16 LEXINGTON. 

Dorothy. Then why does he refuse to allow me to 
have anything to do with the British soldiers? 

Polly. You know very well why, Dorothy. Paul is so 
loyal a patriot that it pains him to think you would receive 
the attentions of those who are fighting him and his cause. 

Dorothy. Life at Lexington is so dull it would be un- 
bearable were it not for the soldiers, and yet Paul doesn't 
want me to have anything to do with them. 

Polly. Dorothy, what makes you so dissatisfied? You 
used to be perfectly content and absolutely satisfied with 
Paul. 

Dorothy. Polly, wouldn't you like to see England? It 
must be delightful. And London — think of London, with 
its shops, its crowded streets, and the fashionable people; 
the bustle and excitement. Captain Willoughby says there 
is no place in the world like London. 

Polly. Is Captain Willoughby the man who taught you 
the song? 

Dorothy. Yes. He says I ought to go to London, and 
not bury myself in this dull life here. 

Polly. You seem to be quite attracted by Captain Wil- 
loughby. 

Dorothy. Not attracted, Polly; just interested. Oh^ 
Polly, I wish you could meet him. You'd like him, I'm sure. 
He's such a perfect gentleman ; so chivalrous and debonair. 
(Plointk'cly.) I wish Paul were more like hiuL 

Paul (off stage, R.). I haven't heard it all. Leslie, but 
it goes something like this: 

"There was once a jolly old salt, who lived 
On the broad and bounding sea, sir." 
Now, where in the world would a sailor live, but on the 
sea ? Oh, it's a great song ! 

Polly. There's Paul now! (Girls rise.) 

Enter Paul Revere, followed by Leslie, R. U. E. 

Paul. Dorothy! (Comes dotvn stage and takes her 
hands.) Dorothy, when did you arrive ? I have been watch- 
ing for you all day. 

Dorothy. Just a little while ago. 



LEXINGTON. 17 

Paul. Oh, I've been so lonely since you've been gone! 
So lonely ! 

Polly (L. of Dorothy, in a meek little voice). Fm here, 
too. 

Paul. Ah, Polly, you must overlook my slight. You 
know I haven't seen Dorothy for nearly a month. 

Leslie. And while you're begging pardons, I'm here. 

Dorothy. Ah, how do you do, Mr. Leslie? 

Leslie. Enjoying the best of health, Miss Maddern, and 
feeling in the best of spirits to find myself in such delight- 
ful company. 

Dorothy. Such blarney. 

Paul. Did you have a pleasant visit at Plymouth? 

Dorothy. Very. I met some delightful people. 

Leslie. Miss Maddern, believe me, to bask in the sun- 
shine of your presence would make a dyspeptic delightful. 

Polly. There's flattery for you. Dorothy, I don't be- 
lieve any of the delightful people you met could have said 
anything nicer than that. 

Dorothy. All my friends seemed to exert themselves to 
make my visit a pleasant one. 

Leslie. 'T were not an exertion to please you. Miss 
Maddern ; 't were a privilege. 

Paul. Leslie, what's got into you ? 

Leslie. I can't help it, Paul, with such an inspiration. 

Dorothy, Mary Norris gave a party for me. And O, 
/'/;/ going- to have a party tomorrow night, and you are all 
to come. 

Paul. Here or at Lexington? 

Dorothy. Oh, at home, of course. You will come, Mr. 
Leslie, won't you? 

Leslie. Wild horses couldn't keep me away. 

Dorothy. But you musn't count on the pleasure of rid- 
ing over with Polly, for she's going with me in the morn- 
ing. And you, Paul? 

Paul. At Lexington tomorrow night? I very much 
fear, Dorothy — 

The Others. Now don't say you can't come. 

Paul. I want to go ; oh, I want to go ; but I ride cross 



18 LEXINGTON. 

country tomorrow with messages for General Ward and 
cannot possibly get back before evening. 

Dorothy. Cannot you defer your tri])? 

Paul. I'm afraid not, Dorothy. The messages are very 
important, and duty — 

Dorothy, Duty ! Don't talk to me of duty ! I don't be- 
lieve you want to come. 

Polly {reproachfully). Dorothy! 

Dorothy. Lately, every time I ask you to do anything 
for me, you always have some excuse. Your actions cer- 
tainly don't substantiate your fervent protestations. 

Paul, Dorothy, I would rather go to your party to- 
morrow night than any other place in the world. But the 
messages must be delivered — 

Dorothy. Then deliver them by all means. Carry your 
old messages, if you want to. I can find soiue one who will 
be glad — and willing — to take your place. 

Paul (jealous). Among your soldier friends, I suppose? 

Dorothy. Yes, among my soldier friends. Though you 
do call them our enemies, they are more gallant than some 
of my friends. They at least try to please me. Captain Wil- 
loughby would try to come, if I asked him, 

Paul and Leslie (together — aghast). Captain Wil- 
loughby ! (The ttvo men look at each other for a moment 
or tivo, signiicantly.) 

Paul, Do you know Captain Willoughby? 

Dorothy, I do. 

Paul. Where did you meet him? 

Dorothy. At Plymouth, 

Paul. And he dared to speak to you — look at you ! 

Dorothy, Certainly. He was introduced to me. 

Paul. And you entertained Captain Willoughby ! (3h, 
Dorothy ! 

Dorothy. Why not? 

Paul, Captain Willoughby is no fit person for you or 
any other girl to know, 

Dorothy, Captain Willoughby is a gentleman. 

Paul, Captain Willoughby is not a gentleman, 

Dorothy. Now you're iealous. 



LEXINGTON. 19 

Paul (quietly and grai'dy). No, Dorothy, I am not 
jealous; but I chance to know Captain Willoughby, and of 
liis hfe, and I beg that you have nothing more to do with 
him. 

Dorothy. Oh, it's all very well for you to make idle 
implications. Your jealousy has led you to say things you 
might have difficulty in proving-. If there is any reason why 
Captain Willoughby is not a desirable acquaintance for me, 
you should tell me. 

Paul. No, Dorothy. Spare me. 

Dorothy. I demand to know. 

Polly. Dorothy, dear. 

Paul. Ever since we were children together, Dorothy, I 
have loved you. My life's desire has been to make you happy, 
and if Captain Willoughby were a fit man for you to know, 
I would not say a word. You say that I am jealous. I am. 
Jealous for your pure heart ; jealous for your sweet and 
innocent nature; jealous for your fair name. And that is 
why I ask what I ask. 

Dorothy. And my answer? 

Paul. There is no answer. 

Dorothy. There is no answer ! Then your request is 
not a request, but a command ! This, then, is the tender 
love you vaunt! A love that prompts you to nourish your 
jealous passion until you command me, as though I were 
a spoiled child, or a cur at your feet. Am I not, then, per- 
mitted to recognize anyone save those of whom your su- 
perior judgment approves? 

Paul. Dorothy, don't ! 

Dorothy. I suppose you are sorry now ; but you have 
gone too far this time, Mr. Revere. Mere (faking ring from 
her finger and handing it to him). Since my choice of 
friends doesn't seem to please you, I will spare you the pain 
of being obliged to meet them. (Exit, L. 2, followed by 
Polly. ) 

Leslie (approaching Paul). Fm sorry, old fellow — 

Paul. It's all right. Leslie ; it's all right. 

Leslie. She didn't mean what she said. She was angry 
— beside herself — 



20 LEXINGTON. 

Paul. I am not so sure. 

Leslie. And when her anger has gone down she will 
be ashamed — and sorry. You know how wilful she is, Paul. 
You must make allowances. 

Paul. Leslie, all my life I have watched over her and 
safeguarded her. Ever since her father died, when we were 
little children. And this — no, no ; it wasn't anger, Leslie ; it 
was something else. 

Leslie. Something else? 

Paul. Yes. Willoughby ! She's under the spell of his 
damned fascinations, for he is fascinating to the woman ; 
that's why he is what he is. 

Leslie. But it is only a fascination, Revere. It will all 
come out right. Don't worry. 

Paul. Worry? Why should I worry? There's nothing 
to worry about. (With a hard, cold laugh.) See, Fm as 
care free as you are. (Picks up glass from table.) Listen! 
I'll give you a toast — to woman. Here's to woman, the 
descendant of Eve ; woman, the vampire, who lures us to 
her with a siren's song, ensnares us in the meshes of her 
wiles and fascinations until our very heart's blood is 
poured out upon the altar of her vanity ; then leaves us, 
naked, bruised and dying upon the sands of our wasted 
afifections. Here's to woman, who wrecks our happiness, 
ruins our hopes, destroys our ambitions, damns our souls! 
Here's to woman — (drops glass, which falls to the Hoor and 
breaks. He sinks into a chair and buries his head in his 
arms on the table.) Oh, Dorothy, Dorothy, how could you? 

Leslie. There, there, Paul. Come with me out into the 
open (helps Paul to his feet) and walk for a while in the 
air. It will all come out right ; I know it will. Come, and 
we'll talk things over. That's a good fellow. Come with 
me. (They exit, R. U. E.) 

Enter Remus, L. 2 E. 

Remus. I — I — I — 'clar to goodness, I disremembers 
exactly what Massa Cottrell done sent me fo'. Howsom- 
ebber, I 'specs it's wine. Mostly when I forgits what 
IMassa Cottrell wants, ef I takes him wine, I gen'lly hits it. 



LEXINGTON. 21 

Enter Fairfield, Ogline and Willoughby, R. U. E. 
WiLLOUGHBv is sUglitly intoxicated ; not staggering, bnt a 
little boisterous. 

WiLLOUGHBY. Come, boys, let's make merry with riot- 
ous mirth the evening hours, and drive dull care away be- 
neath the mellowing- influence of the flowing bowl. {They 
sit at table dozvn R.) Wine, my dusky menial; wine for 
three. 

Remus. Yes, sah. (Exit, L. 2 E.) 

Ogline. Well, Willoughby, of all the men beneath the 
stars, you are the last one we expected to see tonight. 

Willoughby. The workings of fate are strange and 
hard to understand, my friend. Yesterday I myself did not 
expect that tonight I would have the pleasure of your 
jovial society. 

Fairfield. But tell us, what brings you here, the dull- 
est of all places in these dreary colonies ? There's a woman 
in it, ril be bound. 

Remus enters, L. 2 E., with wine, places on the table 
before the men and exits, L. 2 E. 

Willoughby. You are clever, Fairfield. Far too clever 
to waste your talents in the army. 

Ogline (sneeringly). There usually is a woman in the 
case when you go "traveling," Willoughby. 

Willoughby (rising and drawing his szvord). Sirrah! 

Ogline. Peace, Captain ; 't was but a jest. 

Willoltghby. Well, let it pass at that. (Sits again.) 

Fairfield. But you have not yet told us your mission. 

Willoughby. Ah, you sly dogs ; bound to ferret out my 
secret. Well, then, I will tell you. It is a woman. 

Ogline. I thought so. 

Fairfield. Where is she from? 

Willoughby. Lexington. I met her at Plymouth, 
where she was visiting. She returned home today. 
(Drinks.) 

Fairfield. And you are following her. 

Willoughby. My most astute friend, you are correct. 
Ah, gentleman, of all the mocking glances that e'er fell 



22 LEXTXGTON. 

from human eyes, her's are the most bewitching; of all the 
feminine charms that I have ever seen, her's the most to be 
desired. 

Fairfield. But are they to be realized? 

Wn.LOUGHBY. 1 have not failed before, and though my 
new-made friend an angel much resembles, withal, she is 
but human. 

Fairfield. Some are said to be angels. 

WiLLOUGHBY. Be it so. Angels have been known to 
fall. Come, drink with me. (They all rise.) To Mistress 
Dorothy Maddern — 

Fairfield and Ogline. To Mistress Dorothy Mad<1crn. 

WiLLOUGiiBY. And to my success. 

Fairfield (settitig doivn his glass). No, Willoughby, 
I cannot drink to your "success," for I know what you 
mean by that. 

Willoughby. Then I will drink alone. Here's to Mis- 
tress Dorothy Maddern and to my success. (Drinks.) 

Enter Remus, L. 2 E. 

Willoughby. Well, gentlemen, I must be off. 

Ogline. What! Tonight? 

Willoughby. To be sure. Why should I remain here 
when the object of my fascination is but twenty miles or so 
away? The early bird, you know. (To Remus.) Here, my 
dusky friend, is payment for your hospitality, and an extra 
shilling added for the pleasure your handsome countenance 
affords. 

Remus. Thank you, sah. I — I — I jes' come in to tell you, 
sah, dat yo' horse has done cas' a shoe, sah. 

Willoughby. My horse has cast a shoe, has he? Is 
there a blacksmith in this cursed place? 

Enter Cottrell and Curtis, L. 2 E. 

Cottrell. Remus, you black rascal, where is the wine 
I sent you for? Ah, gentlemen, good evening. 

Willoughby. Good evening, sir. Your servant has just 
informed me that my horse has cast a shoe. Is there a 
blacksmith hereabouts ? 



LEXINGTON. 23 

CoTTRELL (indicating Curtis). This g-entleman is a 
blacksmith. 

WiLLouGiiBY. I am delighted to know you, sir. I honor 
the man who toils, the honest laborer who earns his bread 
by the sweat of his brow. I, too, am a worker, though in a 
different field. Will you attend to my horse? 

Curtis (stands C). I will not. 

WiLLOUGHBY. You do not seem to understand me. I 
say, will you shoe my horse? 

Curtis. I understand you, and answer that T will not. 

WiLLouGiir.Y. You will not ! 

Curtis. I will shoe a horse for no enemy of mv country. 

Enter Paul and Leslie, R. U. E. 

Paul (discovers Willoughby and starts forward). Wil- 
loughby ! 

Leslie (restraining him). Steady, Paul. Steady. 

Willoughby. You defy me, the King's representative. 
I will show you whether you will shoe my horse or not ! 
(Starts toward Curtis, drawing his sword. Paul conies 
down to C, strikes Willoughby, zvlio falls to the floor.) 

Paul. Permit me, sir, to inform you that in these colo- 
nies every man is a free man, and obeys the dictates of no 
tyrannical ruler nor of his representative. 

Willoughby (rising). I know you, Paul Revere, I 
know you ! Fm not too drunk to know what Fm saying-, 
nor to remember it, and I tell you that for that blow Fll 
pay you back a thousand fold, damn you ! 

Paul. And I have heard of you, Captain Willoughby, 
and of your many amorous escapades. I have also learned 
of the attentions you have been paying a certain young 
lady in this vicinity, and I warn you that should one hair 
of her head come to harm through you, by heaven, Fll kill 
you! 

PICTURE. 

Ogline and Fairfield. R. C. Willoughby and Paul. 
C. Curtis,. L. C. Cottrell and Remus, L. Leslie up 
stage, C. 

OuiCK Curtain. 



24 LEXINGTON. 

Act II. 

Scene: Same as Act I. The next morning. Lights full 
up. Remus on at rise. 

Enter Fairfield, R. U. E. He sits at table up C. 

Remus. Good mawnin', sah. 

Fairfield. Good morning-; ah, what is your name? 

Remus. Remus, sah. 

Fairfield. Ah, Remus. 'Tis well that I should know 
your name, for I shall be a frequent visitor here. 

Remus. You likes de place, sah ? 

Fairfield. Not the place, particularly ; but your mas- 
ter's vintages please me wondrous well. What have you 
this morning that you can recommend? 

Remus. We has some home brew, sah, dat's mighty 
fine. 

Fairfield. How do you know? 

Remus. Well, sah, I — I — I — 

Fairfield. Ah, you rascal, you've been sampling it, I'll 
warrant. Well, fetch me a bumper and I'll see if your 
judgment is good. 

Remus. Yes, sah. (Exit, L. 2 E.) 

Enter WiLLOUGHBY, R. U. E. 

Willoughby (sitti)ig at table with Fairfield). Good 
morrow, Fairfield. 

Fairfield. Why, Willoughby, where did you come 
from? 

Willoughby. From breakfast. 

Fairfield, Where did you go last night? 

Willoughby. To bed. Did you think I was gaming 
with the sons of Boston's aristocracy, or gazing at the stars 
in the company of its daughters? (Laughs.) 

Fairfield. But I thought — 

Willoughby. My friend, thinking has caused the 
downfall of more bright people than any one other cause. 

Fairfield. I thought you were going to Lexington last 
night. 

Willoughby. Such was my intention, but to ride from 



LEXINGTON. 25 

here to Lexington with an unshod horse, over the rough 
roads that prevail, would lame him, and I was obliged to 
wait until this morning. Ah, well, delays and obstacles but 
add a zest to the game. 

Fairfield. It is a dangerous game you play, Wil- 
loughby. 

WlLLOUGHBY. HoW SO? 

Fairfield. Do you remember the threat Revere made 
last night? 

WlLLOUGHBY (laughs). Bombast, my dear friend; bom- 
bast. 

Fairfield. I am not so sure of that. Revere is a man 
of his word, as I have cause to know, and, since he has 
spoken, were he to find you making overtures to Miss Mad- 
dern, I would not answer for the consequences. 

WlLLOUGHBY. I will take chances. Do you know why 
he was so valiant in her behalf? He wants her himself. 
That much I saw last night. 

Fairfield. You would best let her alone, Willoughby. 

WlLLOUGHBY. Do not attempt to dissuade me, Fair- 
field, for it would be useless. Revere struck me last night, 
a thing no man has dared to do before, and, as I warned 
him, I shall pay him back. lie loves Miss Maddern. So do 
I — in my own way. When I left Plymouth I was deter- 
mined to possess her, for she pleased me. Now she is 
doubly to be desired, for when she is mine I shall flaunt 
her in his face, and that shall be my revenge. 

Fairfield. Are you sure you will possess her? 

WlLLOUGHBY. Every woman has her price, and this girl, 
her pretty head turned with my fairy tales of London, wants 
to see it. (Laughs.) What could be easier? 

Enter Remus, L. 2 E., zvith drink for Fairfield. 

Remus (at L.). I — I — I — 'clar to goodness, dars de gen- 
I'man what done give me de shilling last night. (Crosses 
to the men.) Here's yo' home brew, sah. (To Willough- 
by.) Good mawnin', sah. 

WlLLOUGHBY. Why, good morning, twilight. I trust you 
are not feeling as black as you look this morning. 



26 LEXINGTON. 

Remus. No, sah. I — I — I's fccliu' mighty fine dis 
mawnin', sah. 

WiLLOUGHBV. I am glad to hear it. Suppose you feel 
among your master's bottles and see if you can find some- 
thing for me to drink. 

Remus. Yes, sah. (Exit, L. 2 E.) 

Fairfield. I suppose you have heard the news? 

WiLLOUGHBY. News? What news? 

Fairfield. Is it possible you have not heard? About 
the rebels' powder. 

WiLLOUGHBY. I have heard nothing. Have you suc- 
ceeded in learning anything regarding its whereabouts? 

Fairfield. We have learned everything. Our army 
moves tonight to destroy it. 

WiLLOUGHBY. Good ! Where is the powder stored ? 

Fairfield. At Concord. 

WiLLOUGHBY. And you move tonight? Then I must 
again postpone my visit to Miss Maddern, for I cannot 
afford to miss this. How will the army move? 

Fairfield. By water. 

Enter Remus, L. 2 E. 

WiLLOUGHBY. i\nd where do — 

h\\iRFiELD (fingers on lips). S — h! 

Remus (crosses to the men). Here yo' is, sah. 

WiLLOUGHBY. You are very prompt this morning, Pom- 
pey. 

Remus. I — I — I — begs yo, pahdon, sah. ]\Iy name am 
Remus. 

WiLLOUGHBY (affecting surprise). Is it possible? I 
thought all male darkys were called Pompey. 

Remus (indignant). Pompey! De idea! 

WiLLOUGHBY. Well, Pompey — I mean, Remus — I beg 
your pardon. Here's payment for the liquor and a little 
heartsease added to soothe your wounded feelings. (Hands 
him coin.) 

Remus. Thank yo', sah ; thank yo'. 

WiLLOUGHBY (rising). Well, Fairfield, if you have fin- 
ished, let us be off. I want you to acquaint me more fully 



LEXINGTON. 27 

with this matter. {Exit Willougiiby and Fairfield, R. 
U. E.) 

Remus {looking at coin). Another shilling! If de gen- 
'Iman done give me a shilling ebery time he done it, I — ^I — I 
— wouldn't objec' if he done called me de debbil hisself. 

Enter Polly, L. 2 E. 

Polly {at door). Remus. 

Remus. Yes'um. 

PoixY. Did father say anything to you about saddling 
the horses? 

Remus. Saddling horses? No, Miss Polly; he didn't 
say nuthin' about no ho'ses. 

Polly. Well, have Miss ]\Iaddern's and my horses sad- 
dled at once. 

Remus. Yes'um. (Exit, R. U. E.) 

Enter CoTTRELL, R. U E. 

Cottrell. \\'c11, Polly, are ye all ready to start? 
Polly. Yes, sir. I just sent Remus to saddle the horses. 

Enter Dorothy, L. 2 E. 

Dorothy. Good morning, Mr. Cottrell. 

Cottrell. Good morning, Dorothy. Polly tells me that 
you are about ready to start. 

Dorothy, Yes, sir. 

Cottrell. I don't like the idea of allowing you girls to 
ride over to Lexington alone. 

Polly. Now, father — 

Dorothy. We are not afraid, ]\Ir. Cottrell. It is only 
thirty miles and we will be there in a few hours. 

Cottrell. You may think there is no danger, but you 
can't tell whom you may meet. The roads are full of r>rit- 
ish soldiers, and I don't trust them. 

Dorothy. They have never molested me yet, sir. 

Cottrell. That doesn't prove that they won't. No, I 
can't have you ride over unaccompanied. 

Enter Remus, R. U. E. 



28 LEXINGTON. 

CoTTRELL. All, the very thing ! Remus, can you ride 
horseback ? 

Remus. Me? Dat depends on de ho'se, sah. 

Polly. Father, you know you can't spare Remus. You 
need him here. 

CoTTRELL. I don't need him as much as you do. I can 
get along without him for one day. Can you ride, Remus? 

Remus. Well, sah, mos'ly when I rides ho'seback I goes 
in a kerridge. But I'se willing to try, sah. 

CoTTRELL. Very well. Saddle Blackheart. 

Remus. Blackheart ! O Lordy, I'se powerful scared ob 
dat ho'se, sah. 

CoTTRELL. Then we shall have to get a coach some- 
where. You girls must not go alone. 

Enter Leslie, R. U. E. 

Leslie. Good morning, everybody. I see you girls have 
not yet started to Lexington. This is indeed good fortune 
for me. I was just about to leave. 

Cottrell. Are ye going over to Lexington, Leslie? 

Leslie. Yes, sir. I am riding over to attend Miss Mad- 
dern't party tonight. 

Cottrell. Good ! Would you mind accompanying- my 
girls ? 

Leslie. Well, sir, I am free to admit that I came here 
early this morning in the hope that they would allow me 
that privilege. 

Cottrell. That's fine! I was just worrying about an 
escort for them. 

Leslie. And I am at the ladies' command, if they will 
allow me. 

Polly. Oh, that will be lovely ! 

Dorothy. We shall be delighted. 

Remus (to Leslie). Is yo' goin' to ride wid de ladies, 
sah ? 

Leslie. That is to be my privilege, Remus. 

Remus. Bress de Lawd! (Exit, R. U. E.) 

Polly. Now, Mr. Leslie', if you are going to ride over 
with us, will you come and help us with our packages? 



LEXINGTON. 29 

Leslie With the greatest pleasure. (Dorothy, Polly 
and Leslie exit, L. 2 E.) 

Enter Curtis, R. U. E. 

Cottrell. Good mornings, Curtis. 

Curtis. Good morning, Cottrell. 

Cottrell. What makes ye look so serious this morn- 
ing? Ye look as gloomy as though ye had sat down to 
make your will and then discovered that ye had no posses- 
sions to bequeath. There have been no more redcoats at- 
tempting to horsewhip ye, have there? 

Curtis. No. but they are attempting something else. 

Cottrell. They are ? What is it ? 

Curtis. I don't know, but I'll swear they're up to some 
mischief. 

Cottrell. What leads ye to think so? 

Curtis, Their camp, this morning is a scene of bustle 
and confusion. Preparations of some sort are being made, 
for what I cannot discover. 

Cottrell. You may exaggerate. Perhaps they are only 
preparing for inspection. 

Curtis. No, they are dismantling their camp. 

Cottrell. Are they preparing to move? 

Cltrtis. They seem to be. 

Cottrell. Perhaps they have been recalled to England. 

Curtis. I think not. It is more likely they have received 
orders to proceed elsewhere on their errand of compelling 
us to bow to the will of a despicable tyrant. 

Enter Dorothy, L. 2 E., with sei'eral parcels. 

Dorothy. Good morning, ]\Ir. Curtis. 

Curtis. Good morning, Miss Dorothy. So ye are going 
to leave us? 

Dorothy. Yes, sir. 

Curtis. Your visit hasn't been very lengthy. 

Dorothy. No ; I must hurry home to make preparations 
for my party tonight. Wouldn't you like to come? I'd love 
to have you. 



30 LEXINGTON. 

Curtis. No, Miss Dorothy. Much oblig-ed : but a thirty- 
mile ride is too much for my old bones. 

Dorothy. Mr. Cottrell, can't 1 persuade you to come? 

CoTTRELi.. Dorothy, if I rode thirty miles today I'd have 
to g'o to bed, and I would miss the party anyhow. I'm just 
as much oblis^ed, but I guess I'll stay here and smoke my 
pipe with Curtis. 

Enter PoLi.v, L. 2 E., her anus filled ivith packages. 

Polly. Good morning, Mr. Curtis. 

Curtis. Good morning. Miss Polly. So you are going 
to leave us. 

Polly. Just for a day or two. 

Cottrell. That's right, Polly. Don't stay long. It will 
be lonely here without you, 

Polly (calls off to L.). John! John! 

Leslie {off L.). Coming. 

Polly. We are all ready. 

Enter Leslie^ L. 2 E., zvitli an immense number of par- 
cels of all sorts. He is almost covered with them. 

Leslie. Here I am. 

Cottrell. Is that Leslie, or a provision wagon? Polly, 
you told me you were only going to stay two days. 

Polly. So I am. 

Cottrell. What in the world are ye doing with all 
those packages? 

Polly. Clothes. 

Cottrell. Clothes ! You have enough there to dress the 
whole Continental army. 

Polly. Oh, father, you don't understand. 

Cottrell. I certainly don't. But if you want them and 
can find room on the horses for them, take them. Kiss me. 

Polly (kisses him). Good-by, father. 

Cottrell. Good by, Polly. Dorothy, take good care of 
my girl. 

Dorothy. I will do my best, sir. Good by. 

Cottrell. Good by. I'm sorry you can't stay longer. 



LEXINGTON. 31 

Dorothy. So am I. But parties — 

CoTTRELL. Are parties, and not to be overlooked. 

Dorothy. Good by, Mr. Curtis. 

Curtis. Good by. Good by, Polly. 

Polly. Good by, Mr. Curtis. 

Enter Remus, R. U. E. 
Remus De ho'ses am ready. 
Polly. Come on, John. 

Polly, Dorothy and Leslie start to cross to R. U. E. 
When they are R. C, enter Paul, R. U. E. 

Paul. Good morning, everybody. (Discoi'ers Doro- 
niY.) Dorothy! 

Dorothy {after a pause — coldlv). Good morning, Mr. 
Revere. (Exit R. U. E.) 

Polly. Good by, Paul. (Exit, R. U. E.) 

Leslie. Brace up, Paul. Everything will come out all 
right. Come over tonight if you can. (Takes Paul's hand.) 
Good by. 

Paul. Good by. (Exit, Leslie, R. U. E.) 

CoTTRELL. What's wrong between Dorothv and you, 
Paul ? 

Paul. Nothing, sir. Just a little misunderstanding. I — 
I — have you observed the unwonted activity among the 
redcoats this morning? 

Cottrell. Curtis was just speaking of it. 

Paul. For months they have lain here in idleness, the 
soldiers gaming, drinking and walking the streets, the offi- 
cers ogling your daughters and making pretty speeches to 
them. Today all is changed. Their camp is a scene of sud- 
den and unusual bustle and confusion, the officers excit- 
edly giving orders, the men rushing to and fro, obeying 
them, evidently making preparations to depart. 

Curtis. Why should they be leaving here? 

Paul. Why, indeed? We "rebels," as they call us, have 
been very docile of late and nothing has occurred to stir 
them up, and they are too indolent and fond of idleness to 
move for nothing. Some deviltry is afoot. 



32 LEXINGTON. 

CoTTRELL. What do you suppose it is? 

Pai'l. Captain Willoughby arrived here from Plymouth 
last night. I thought at first he was only in pursuit of his 
favorite sport, lady killing, but it may be that his arrival 
has a double significance. 

Enter Snaggsby, R. U. E., badly intoxicated. 

Snaggsby. Good morning, gentlemen. Good morning, 
Revere. 

Paul. Good morning. 

CoTTRELL. Now, Scth, how many times have I told you 
that it is useless for you to come here? 

Snaggsby. Not so fast, Cottrell ; not so fast. I don't 
want your liquor. I have liquor of my own. 

Paul. Where did you get it? 

Snaggsby. You would like to know, wouldn't you? Well, 
that's my business. 

Paul. Where did you get it? 

Snaggsby. My how curious you are. Well, Fll answer 
you. It's none of your business. 

Paul, Then I will be obliged to make it my business. 
You know, Snaggsby, that under our laws no one is per- 
mitted to sell liquor to a drunkard. 

Snaggsby. Well, I didn't buy this. It was given to me. 

Paul. By whom? 

Snaggsby. By a frien'. 

Paltl. Well, your friend is in danger of imprisonment. 

Snaggsby (laiti^hs derisively). Is he? I would like to 
see you imprison a Brit-Brit-British ofifisher. A pretty mess 
you would get into. 

Paul. So it was a British ofificer, was it ? 

Snaggsby (terrified). No, no, no; before God, no! That 
was only a jest. Revere — you believe me, don't you — it was 
only a jest. I — I — I — hate the British. You believe me, 
don't you? 

Paul. Why, of course I believe you, Seth. It was only 
a jest. The idea of a British oflficer drinking with a rebel. 
A capital jest. (Laughs. To Cottrell.) Come, sir, give 



LEXINGTON. 33 

us drink and leave us alone. Snaggsby has developed into 
quite a wit. I would have more of him. (Aside, to Cot- 
TRELL. ) Wait in the next room. I am convinced he knows 
something-. {Exit, Curtis and Cottrell, L. 2 E.) 

Snaggsby. What! Am I allowed to drink here? 

Paul. Of course. Persons as witty as you are to be 
cultivated. 

Snaggsby. They never would give it to me before. 

Paul. That was because they didn't appreciate you. It 
takes a man like me to see your real worth, Snaggsby. 
(Snaggsby and Paul sit at tabic doivn R. Enter, L. 2 E., 
Cottrell, ivith bottle and glasses, ivkich he places before 
them and exits, L. 2 E. Paul pours a glass for Snaggsby 
hut none for himself.) 

Snaggsby. Won't you drink? 

Paul. No ; I have a long ride ahead of me today and 
must abstain. Seth, have you noticed the activity in the 
British camp this morning? 

Snaggsby. Yes — no, no! 

Paul. Haven't you? Why, every one around here is 
commenting on it. I wonder if they are going to leave here. 

Snaggsby. Now, Revere, I'm drunk, I know ; but you 
don't need to think you can get anything out of me. 

Paul. Do you know anything? 

Snaggsby (startled). No, no, no — I mean — I mean — 

Paul. You mean that we know as much as you do. Is 
that it? 

Snaggsby. Yes, that's it? 

Palil. I would dislike to see them leave. They are nice 
fellows, those British soldiers. 

Snaggsby. They're fine fellows! 

Paul. So generous ! 

Snaggsby. You're right ! Why, sir, one of 'em gave me 
(hie) one of 'em (hie) one of 'em — I'm a goo' patriot. 
Revere. 

Paul. Of course you are. You are a good fellow, Seth. 
I never before realized what an interesting person you are. 
What did he give you? 



34 LEXINGTON. 

Snaggsbv, He gave me (hie) gave me (hie) — I'm a 
loyal patroit, Revere. 

Paul. I said you were. What did he give you ? 

Snaggsby (zuitli dninkcn cuiiniiii:^). No, can't tell you. 
'Smatter of honor. You can't get anyshing out o' me. 'm a 
goo' patriot. 

Paul. I wish you weren't. 

Snaggsby. Wy, whash y' mean? 

Paul. I must tell some one. (Looks about cautiously.) 
If I tell you something will you never breathe a word of it? 

Snaggsby. Nev'r. 

Paul. Will you swear that you will never, to your dying 
day, repeat what I am about to tell you ? 

Snaggsby. Nev'r will. 

Paul (rising and pacing about). Oh, I'm tired of it all! 
Tired of striving, struggling, working my soul out, for a 
cause that will only lose in the end ! 

Snaggsby. Tell me, Revere, whash ish it? Yo' can trus' 
me. 

Paul, Are you sure? 

Snaggsby. Yesh shir. 

Paul. You swear not to betray me? 

Snaggsby. Yesh. 

Paltl. Then listen. (They look around cautiously.) Do 
you think they could find a place for me in the British 
army ? 

Snaggsby. Whash tha'? You don' mean to shay you're 
goin' to — 

Paul (laughing bitterly). Desert, they call it! Desert — 
what? A few thousand half-starved men and women scat- 
tered broadcast over the country, struggling against a 
tyrannical king, for what they term "Liberty !" Liberty ! 
P>ah ! I tell you, Snaggsby, I'm sick of it all ! Give me the 
easy road ! Give me luxury ! Give me power ! 

Snaggsby. You're right, Revere. Thesh colonies are 
goin' to lose in the end. 

Paul (forgetting himself). Who dares say that? (Re- 
members.) Eh, I mean yes, of course. 



LEXINGTON. 35 

Snaggsby. An' I'm glad yon shee shings th' way I do. 
Of course they can fin' a place for you. They foun' a place 
for nie? 

Paul. What for? 

Snaggsby. Well, shinch you have tol' me what you 
have, I'll tell you shomeshing. They're going to make me 
a cap-cap-captain. 

Paul. A captain! What for? 

Snaggsby. For shome in-in-information I gave 'em. 

Paul. Information ? 

Snaggsby. Yesh. I tol' 'em where the pow-pow-powder 
ish stored. 

Paul. You — you — God ! 

Snaggsby (proudly). Yesh shir, me. We're on the win- 
ning side, Revere. Ain't we? 

Paul. What are they going to do? 

Snaggsby. They're going to deshtroy it. 

Paul. When. 

Snaggsby. They start for Con-con-concord to night. 

Paul. How will they go — on land or by sea ? 

Snaggsby. I dunno. They're goin' to make me a cap- 
cap-captain. I'm pretty smart, ain't I? 

Paul (rising). Yes, you are smart, you traitor! This 
is the way you show your appreciation of the gallant hearts 
and mighty souls that are struggling for your liberty! Oh, 
I could kill you, you spawn of hell, that could do this thing. 

Snaggsby. But you said you was goin' to — 

Paul. What I said is past. It is what I say now that 
counts. (Sci:;cs Snaggsby by the throat.) I will kill you! 
When a man finds a snake in his path he does not hesitate 
— why should I ? 

Snaggsby (struggling). Don't, Revere. Let me go! For 
God's sake, don't kill me ! 

Enter Cottrell and Curtis, L. 2 E. 

CoTTRELL. Hold, Revere! What does this mean? 

Paul (releases Snaggsby, zvho falls to the floor). It 
means that this modern Esau has sold his birthright for a 
mess of pottage ! 



36 LEXINGTON. 

Curtis. What do you mean? 
CoTTKELL. Explain yourself ! 

WiLLOUGHBV appears at door, R. U. E., unnoticed. He 
is about to enter zvlien he overhears the conversation and 
stops. 

Paul. For a few paltry drinks of rum and the promise 
of a captain's commission, he has told the British where 
our ammunition is stored, and they are going tonight to 
destroy it ! 

CoTTRELL. My God! 

Curtis. Then we are lost ! 

WiLLOUGHBY sUps behind curtain over the zvindow in 
flat. 

Paul. No, Curtis, not yet ! Listen ! I am going now with 
messages for General Ward, which must be delivered today. 
I will not be able to get back before eleven o'clock tonight. 
While I am gone, first put this cur where he can do no fur- 
ther treachery. Then find out whether the British will move 
by land or sea. If they go by land, hang a lantern in the 
North Church tonight at twelve o'clock ; if they go by sea, 
two lanterns. I will be on the opposite shore, and when 
your signal flashes out I will ride from here abroad, spread- 
ing the alarm, and when the British arrive at Concord to- 
morrow, our minute men will meet them face to face ! Do 
not fail me ! (Exit, Paul, R. U. E. Curtis and Cottrell 
lift Snaggsby to his feet and lead him out, L. 2 E. Wil- 
loughby comes out front behind the curtain to C.) 

Willoughby. So that's you're plan, Mr. Revere ! Well, 
I'm sorry to spoil it, but if I can prevent it you will not take 
that ride! (Exit, Willoughby, R. U. E., as curtain falls.) 

Curtain. 



LEXINGTON. 37 

Act III. 

5'cENE I : Drop in 1 G., shoiving the Charles River, zvith 
part of Boston and the North Church tower in the distance. 
A sign board reading "Lexington 25 miles," and pointing to 
the left, should be placed at the L. of stage, or near the road, 
if one is painted on the drop. Blue moonlight effect. Time, 
near midnight. If this drop cannot be provided, a tvood 
drop, with borders and zvings, in 1 G., may be substituted. 
Music, "Yankee Doodle" for curtain. 

Ogline is seated on the ground, R. C, and Fairfield is 
standing R., leaning on his gun, at curtain. 

Ogline. Are yon asleep, Fairfield? 

Fairfield. No. 

Ogline. What time is it? 

Fairfield. Past eleven. 

Ogline. How mnch past? 

Fairfield. It mnst be nearly twelve. 

Ogline. How mnch lonq-er will we have to stay here? 

Fairfield. Until Willonghby comes. 

Ogline. Then I hope he will come soon. 

Fairfield. Hark! (They listen intently.) Did yon not 
hear footsteps? 

Ogline. No. It mnst have been the wind stirring the 
leaves. What did W^illonghby send ns here for? 

Fairfield. I know no more than yon. I only know he 
told us to wait here at the crossroads until he came, and 
allow no one to pass toward Concord in the meantime. 

Ogline. Why should he want no one to pass toward 
Concord ? 

Fairfield. That I do not know. 

Ogline. Perhaps he fears the rebels may get wind of our 
plans and try to checkmate us. 

Fairfield. It may be. 

Ogline. Well, I hope he will come shortly, for I am tired 
of this watching. There are more pleasant places to spend an 
evening than on this lonely road. 

Fairfield. The Gray Wolf Inn, for instance. 



38 LEXINGTON. 

Ogline. You speak truly. A better tavern I have not 
seen since we left England. 

Fairfield. Don't talk of England tonight. 

Ogline. Why, Fairfield, I believe you are homesick. 

Fairfield. Who wouldn't be homesick in this cursed 
land of savages? 

Ogline. Cheer up. This trouble will soon be over and 
then we will all go back to England. 

Fairfield. Perhaps some of us will never go back. 

Ogline. What do you mean? 

Fairfield. Ogline, I have a premonition that some- 
thing is going to happen to me. 

Ogline. You mean trouble? 

Fairfield. Yes ; disaster of some sort. 

Ogline. Nonsense. It's your nerves. You're worn oui, 
tired. You need rest. 

Fairfield. Oh, call it what you like — nerves, fancy ; 
but I had the same feeling the day before I was wounded 
in the hip. There's trouble in store for me. I know it. 

Ogline. Nothing of the sort. Come, shake off this 
gloomy mood. You need a drink. Why, these Continental 
soldiers can't shoot straight enough to hit anything. Fd 
like to see just one fight with them. We'd end everything 
right then. 

Fairfield. I wish the war was over and I was back in 
good old England. 

Ogline. I don't care so much about the war, but I wish 
tonight were over and I was back in Landlord Cottrell's 
ale house. 

Fairfield (faciiii:; R.). Halt! Who goes there? 

WiLLOUGHBV (outside). It is I Fairfield. 

Fairfield lowers Jiis giiu and Willoughby enters, R. 

WiLLOUGiiBY. W^ell, men, I am glad to see you so alert 
tonight. Has anyone passed this way? 
Fairfield. Not a soul. 
WiLLOUGiiCY. You are positive? 
Fairfield. Absolutely ! 
Willoughby. Good ! 



LEXINGTUN. 39 

Ogline. Is the army off yet? 

WiLLOUGHBY. They have been embarking- for the last 
hour and are now about under way. 

Ogline. We'll give the rebels quite a surprise tomor- 
row. 

WiLLOUGHBY. That all depends upon you two men. 

Fairfield. Upon us? 

Ogline. How so? 

WiLLOUGHBY. I mean that upon your work tonight de- 
pends the success or failure of this undertaking. 

Fairfield. How can that be ? 

WiLLOUGHBY. Suaggsby, the village toper, from whom 
you obtained the information that made this expedition pos- 
sible, has repented and confessed. 

Ogline. Confessed? To whom? 

WiLLOUGHBY. Paiil Revcre. 

Fairfield. Where did you learn this? 

WiLLOUGHBY. I was about to enter the Gray Wolf Inn 
this morning when I heard voices inside talking excitedly. 
I slipped behind a curtain and heard Revere planning to 
checkmate our move. 

Ogline. What is he going to do? 

WiLLOUGHBY. He arranged with some one to find out 
whether we move by land or sea. If we move by land his 
friend is to display a lantern from yonder church tower 
(points to tower painted on drop or off R., depending on 
how stage is set) at twelve o'clock tonight; if by sea, two 
lanterns. Revere is to be at this spot at the appointed hour 
and when the signal flashes out he intends to ride and 
spread the alarm throughout the country. 

Fairfield. What are we to do? 

WiLLOUGHBY. I want you to prevent that ride! (Points 
off R.) Hide yoursleves in yonder bushes, and when Re- 
vere comes here, capture him ! If he makes the slightest 
resistance, shoot him down ! You would best make ready ; 
it is nearly twelve. (Ogline and Fairfield exit, R.) Re- 
member, men, if he resists, shoot him down ! So, Mr. Re- 
vere, it is your intention to interfere between Miss Mad- 
dern and me. Well, sir, it is my intention to put you be- 



40 LEXINGTON. 

yond interfering- with anybody. (Exit Willougiiby, R. 
Empty stage for a moment^ then sound of hoofbcats off 
stage, L.) 

Paul {off stage, L.). Whoa, Nancy. I guess this is far 
enough. We can get a very good view of the church from 
here. Now I'll tie you to this tree and you can browse 
while I wait for Curtis. (Sound of his patting the horse.) 

Paul enters, L. 

Paul. Now, let me see. When I start I will go over 
the river road to Charlestown. From there I will strike 
out cross country to Medfordtown, where I will take the 
main road to Lexington, and from there through to Con- 
cord. Lexington ! Oh, what memories that name recalls ! 
Lexington and Dorothy ! It was there, in the garden on a 
summer night, with the moon shining as brightly as it is 
now, that she told me she loved me ! And now — now ! 
Oh, Dorothy, in spite of all — in spite of everything, my 
soul cries out for you, for I love you, Dorothy, and always 
will! (A bell strikes twelve.) Twelve o'clock! (Gazes at 
the tower or off R., depending on the set.) This is the 
hour and no signal. Can Curtis have failed me? No, no; 
impossible ! Perhaps they have not started yet ! Still, they 
must have started if they expect to reach Concord before 
morning. Oh, why didn't — (if the toiver is shown a light 
appears; if not, he looks off R.) A light! Will there be 
another? (A second light appears.) Yes, there it is I 
Then they go by sea! Now, Nancy, old girl — (starts off, 
L.) 

Enter Fairfield, follozved by Ogline. 

Fairfield. Stop ! In the King's name, surrender ! 

Paul (throiving up his left arm). Never! 

(Fairfield hres and Paul's arm drops. He clutches at 
it and then returns the fire. Fairfield staggers back and 
Ogline catches him as Paul exits, L.) 

Paul. Come, Nancy, the war is on ! (Sound of hoof- 
beats off L.) 

Ogline. Are you badly hurt, Fairfield? 



LEXINGTON. 41 

Fairfield. He has done for me, Ogline. 
Ogline. There, Fairfield, don't say that. 
Fairfield. It's true. I — I — I — curse him! Ah! 
(Falls.) 

Enter Willoughby, R. 

WiLLOUGHBY. Did you get him? 

Ogline. No. He has escaped. 

WiLLOUGHBY. The devil ! 

Ogline. We fired and wounded him. He returned our 
fire and — {points to Fairfield.) 

WiLLOUGHBY. Is he dead? 

Ogline. Yes. 

WiLLOUGHBY. Revere must be overtaken ! I tell you 
we must catch him. Come, we will get horses and follow 
him. (They exit, R.) 

Curtain. 



Scene H : The Maddern home. A typical home of the 
colonial period. Furniture shoidd he old fashioned, as near 
the colonial style as possible. Set, boxed in 4. Large arched 
doorzvay, R. 3 E., with interior backing. At R. C. in flat 
a stairzvay starts from the stage, up four or fii'e steps to 
a landing and then off R. Under this is a door, interior 
backing, zvhich is supposed to run dozvn into the cellar. 
L. C. in flat is a door zvith garden backing. In L. 2 and 3 
is an immense zvindozv, about 10 by 12 feet, zvith a recessed 
sill, used as a seat, covered by a cushion. This zvindozv, 
zvhile not practical, should be transparent, to admit light. 
Heaz'y curtains over the zvindozv, zvhich are drazvn back. 
Lights full up on stage. Blue moonlight effect, shilling 
through large zvindozv, L. Garden backing for zvindozv, L. 
There is very little furniture in the room, the floor having 
been cleared for dancing. One or tzvo chairs against flat. 
Small table dozvn R., upon zvhich stands a large punch 
bozvl, filled, zvith glasses around it, and behind zvhich table 
stands Matilda. 

At rise a minuet is being danced. Of the cast, Matilda, 
Dorothy, Polly and Leslie are on the stage at rise, and 



42 LEXINGTON. 

from tivclvc to twenty supernumeraries of both sexes, ivho 
are used as guests. When the dance is just about com- 
pleted, sound of liQofbeats arc heard. Hie sound continues 
for a few moments and upon its cessation there is a heavy 
knock on door, L. P. The dances stop in confusion and 
group on both sides of the stage so that door L. F. is 
visible to the house. A szvord hangs on the wall, R. 

Dorothy (at R. C). What was that? 

Leslie (at L. C). A knock! 

Polly. Who can it be? 

Dorothy. What time is it, Mr. LesHe? 

Leslie. One o'clock. (TJie knock is repeated.) 

Polly. What business can anyone have here at thi= 
hour ? 

Leslie. Fll see who it is. (Starts up stage.) 

Matilda. Massa Leslie. (Leslie stops, C.). Don' you 
go to dat do'. You don' know who dat am. 

Leslie. And I want to find out, Matilda. 

Matilda. Yes, sah, but dere's British soldiers aroun' 
and dey ain't trus'worthy, dey ain't trus'worthy, Massa 
Leslie. (The knock is repeated.) 

Leslie. I'll have to take chances. (Starts up stage.) 

Dorothy. Be careful, Mr. Leslie ! 

Polly. Do be careful, John. 

Paul (outside). Dorothy! Dorothy! Polly! 

Polly (joyfully). Oh, it's Paul Revere! Open the door 
quick, John ! 

Dorothy crosses to R. and turns her back to the door. 
Leslie opens the door and Paul enters, coming C. His 
clothing is disarranged and soiled and his left arm hangs 
limp at his side. He is very pale. He leans against Leslie. 
Exclamations from supers of "JVhat is the matter?" "What 
has Jiappened?" "What is wrong?" etc. 

Paul. The British are advancing- to Concord to destroy 
our ammunition. 

Leslie (astounded). The British! 

Paul. Yes. 

Leslie. Where are they moving- from? 



LEXINGTON. 43 

Paul. From Boston. 

Leslie. When did they start? 

Paul. At midnight ! To arms, minute nien ! They will 
be there by daybreak, and we must meet them! {The 
supers rush about in great eon fusion, getting their wraps 
from room off K., hurriedly speaking to Dorothy as they 
exit, door L. F.) 

Leslie. Are they marching overland? 

Paul. No. They are moving by boat. We will have 
time to mobilize before they get to Concord, and no more. 
A — h {Staggers and Leslie catches him.) 

Leslie. Paul, are you hurt? 

Paul. No — it's — I — I — have had a hard ride and Fm 
a bit tired. {Braces himself.) There; Fm all right now. 
Did the boys understand me? 

Leslie. Yes, they are starting for Concord at once. 

Paul. I must go on. 

Polly {at R. C). Stop and rest a minute. Paul, before 
you go. 

Paul. No. I must go on. There is no rest for me 
tonight. 

Leslie. Where are you going? 

Paul. To Concord. 

Leslie. I will go with you. 

Paul. No, no; stay here and take care of the women. 
You may be needed here before morning. 

Polly. But Paul, you are worn out. You are in no con- 
dition to ride. Let him go. 

Paul. No. Fm all right. There isn't much more to 
do. I have roused all the minute men between Boston ^nd 
here. (Mrs. ALaddern comes down the stairs, holding a 
candle.) 

Mrs. M. Dorothy! Dorothy! What is the matter? Are 
you safe? What is the excitement about? {By this time 
the stage is empty save for Paul, Leslie, Dorothy, Mrs 
Maddern and Polly.) 

Dorothy. Yes, mother, I am all right. The British are 
marching on Concord. 



44 LEXINGTON. 

Mrs. M. Marching' on Concord ! Then they will pass 
here! Oh, what shall we do? 

Paul. Calm yourself, Mrs. JMaddern. They are moving 
by sea and will probably not come near this house. 

Mrs. M. Oh, it's terrible, terrible! 

Paul. Now I must finish my work. 

Mrs. M. Where are you going? 

Paul. To Concord to rouse the minute men. 

Mrs. M. But, Paul, you are deadly pale. Let me get 
you a glass of wine before you go. 

Paul. No, I must hasten. Every minute I lose may 
count for our defeat tomorrow. Mr. Leslie will stay here 
and protect you. 

Mrs. M. But you need the wine. It will only take a 
moment. Wait. (Exit, R. 3 E. Dorothy comes down 
stage.) 

Paul. Miss Maddern, I trust you will pardon my inter- 
ruption of your party, but when I stopped I had forgotten 
that you were having a party. 

Dorothy. Then why did you stop? 

Paul. To warn you that your friends, the British — 

Dorothy {appealingly). Don't, Paul. 

Paul. Are moving toward Concord and that in all 
probability a battle will take place there tomorrow. If they 
retreat in this direction this house will not be a safe place 
for you. I stopped to warn you. 

Enter Mrs. Maddern, R. 3 E., with glass of wine. 

Mrs. M. (at C). Here is the wine, Paul. 

Paul. Thank you. {Drinks zvine and hands glass 
back.) There, I feel better now. Thanks. {Hoof heats 
are heard off stage. They all listen for a moment.) 

Polly. Hoofbeats I 

Dorothy. What can they mean ? 

Paul, Leslie, quick ; put out the lights ! Mrs. Maddern, 
go up stairs! Girls, hide yourselves! (Leslie hloivs out 
the candles and the stage is dimmed until the only illunii- 
nation is the bright blue light coming through the large 
ivindozv, L. Mrs. Maddern goes up stairs.) 



LEXINGTON. 45 

Polly. What does it mean? 

Paul. It means that I am pursued. I had an encounter 
with two of the redcoats when I started and they are fol- 
lowing me. Girls, hide yourselves ! 

Polly. No, we will stay with you ! 

Paul. No, I must go on. My work is not yet done. 
Leslie, I leave these women in your care. 

Dorothy (falling on her knees and catching Paul's 
right hand). No, Paul; NO! You must not risk your life 
so ! You must stay here until they pass ! 

Paul. They won't pass ! 

Leslie. Why not? 

Paul. My horse is tied outside and they will recognize 
it. I must go on. 

Dorothy. No, Paul! If you go now they will only 
capture you ! You must stay ! 

Paul. I must stay ! Is this a trap that you have led me 
into for Captain Willoughby? 

Dorothy (screams and cowers as if struck). Paul! 

Polly. Paul, how can you ? Did she bring you here ? 

Paul. No, no. Forgive me, Dorothy ; forgive me. I — 
I'm weak and worn and beside myself. (The hoof beats 
stop.) 

Polly. There, they have stopped ! 

Dorothy. Quick, Paul, hide! 

Paul (draiving his pistol). Come, Leslie, we must make 
a stand ! Back, girls ! 

Dorothy (terrified). No, no; they will only kill you. 
Listen, Paul ; listen ! I have been thoughtless in my treat- 
ment of you ; heartless, cruel, perhaps. But I meant no 
harm, God knows I You are risking your life unnecessa- 
rily I For my sake, let me save you ! 

Polly. Do Paul, please! 

Willoughby (outside, knocking). Open, in the King's 
name ! 

Dorothy. Put yourself in my hands ! Will you ? 

Paul (zvearily). Yes. 

Dorothy. Polly, you and Mr. Leslie go in there (points 
to L. 1 E.) and stay until I call you. 



46 LEXINGTON. 

Leslie. But, Miss Maddern, I can't leave you here 
alone. 

Dorothy. I can take care of myself. 

Leslie. It isn't safe. 

Dorothy. Please go. I have a plan, and if you are 
seen here my plan will fail. 

Leslie. A'ery well. I shall wait in the next room. 
Call if you need me. 

Dorothy. Yes, yes, yes. Go now, please! (Exit 
Polly and Leslie, L. \ E.) 

WiLLOUGHBY (outside — poundino; on flic door). Open! 
Open I 

Dorothy (takes Paul's right hand and leads him to 
the door, R. F., under stairzvay.) Come. Paul, quick! This 
door opens on a stairway leading into the cellar. I will let 
the men in and while they are inside you can escape by the 
outside entrance. 

WiLLOUGHBY (outsidc). Open, in the King's name! 

Dorothy. Do you understand, Paul? (He stands, al- 
most fainting, and looks at her stupidly.) Listen, Paul, 
listen ! Do you understand what I have told you ? 

Paul (zveakly). Yes. (Dorothy seices Paul, zvho is 
staggering, and pushes him in and closes the door; then 
admits Willoughp.y and Ogline, door L. F. Ogline 
stands guard at door, L. F. Willoughby starts back in 
surprise.) 

Willoughby. Miss Maddern ! 

Dorothy (endeavoring to appear calm), \^^^y. Captain 
Willoughby, I am surprised to see you ! 

Willoughby. It is an unexpected pleasure to meet you. 
Miss Maddern. I was not aware that this was your home. 

Dorothy (at C). What can I do for you? It is a rather 
unconventional hour to be making calls. 

Willoughby. I am sorry to disturb you, though I per- 
ceive you have not yet retired, however unconventional the 
hour. 

Dorothy. Captain Willoughby, I am in my own home 
What I do here is my affair. If I choose to — 

Willoughby. Wait for some one? 



LEXINGTON. 47 

Dorothy, I was waiting for no one, Captain Wil- 
loug'hby ! I have been entertaining a few friends this even- 
ing, and my guests have just left. 

WiLLOUGHBY. All but Mr. Revere. 

Dorothy. What do you mean? Mr. Revere was not 
among my guests. Please state your errand, for I am very 
tired. 

WiLLOUGHBY. As I said before, Miss Madclern, I am 
very sorry to be compelled to intrude upon you at such a 
late hour, but my business is pressing and I will not detain 
you. I came to take a prisoner. 

Dorothy (affecting alarm). A prisoner! Ah, what have 
I done that you should take me? I pray you, Captain Wil- 
loughby, have some consideration. I have done nothing. 

WiLLOUGHBY. Do uot alarm yourself, Miss Maddern. 
My intentions toward you are the most friendly. 

Dorothy. But you speak of a prisoner, and whom 
could you want in this house but me? 

WiLLOUGHBY. Miss Maddcm, an hour ago Paul Revere 
killed one of our soldiers at Boston and is now a fugitive. 
I found his horse outside, which led me to believe that he 
had sought a hiding place here. You are a very clever 
actress, but you can't deceive me. When I spoke of a pris- 
oner your seeming assumption that you were the person 
desired was only a very clever ruse to gain time that he 
might be the more securely concealed. Now. I am positive 
that he is in this house, and I demand that you deliver him 
up. 

Dorothy. How strange that because a man's horse 
happened to be found wandering in the vicinity of my 
home, you should imagine the man himself was seeking 
refuge here. 

WiLLOUGHBY. Miss Maddem, the horse was not wan- 
dering in the vicinity of your home. He is securely tied to 
the fence. 

Dorothy. Perhaps some one found it straying around 
and tied it there. 

WiLLOUGHBY. Come, come, Miss Maddern, this is no 



48 LEXINGTON. 

time to bandy words. You are only seeking to gain time. 
Where is Revere? 

Dorothy. I do not know. 

WiLLOUGHBY. Answer me. Where is Revere? 

Dorothy. I tokl you before, and I repeat it; I do not 
know. 

WiLLOUGHBY. You He! 

Dorothy (zvliitc zvith anger). Captain Willoughby, 
how dare you say that to me ! My word has never yet been 
doubted, and when I tell you I do not know where Mr. 
Revere is, I speak the truth ! 

WiLLOUGHBY. Revere is in this house, and if you do 
not tell me where he is, I shall be obliged to search for him. 

Dorothy. Then search by all means, and welcome ! 

WiLLOUGHBY. Come, Ogline, up stairs ! 

Dorothy (rushes to stairs and tJiroivs her arms out). 
No, no, no ! Search down stairs first. 

WiLLOUGHBY. Ah, I thought so! He is up stairs, 
Ogline. (Ogline pulls Dorothy aside and starts upstairs 
and Willoughby is about to follow when he stops sud- 
denly.) Stop, Ogline! Come back! (Ogline comes down 
stairs.) Go outside and watch the house! If Revere at- 
tempts to escape, shoot him! (Exit Ogline, door L. F.) 
I was mistaken. Revere is not up stairs ; He is in this 



room 



Dorothy (suppresses a scream and attempts to laugh). 
How quickly you changed your mind. 

Willoughby. Revere is in this room. (Walks over to 
door, L. F., and then follozvs Paul's footsteps dozvn stage 
and up to the door under stairs, all the time looking down 
at the floor.) And what is more, he is in that cupboard! 

Dorothy (trying to appear calm). What a wonderful 
man you are. Captain Willoughby ! May I ask what leads 
you to think so? 

Willoughby. If you will look carefully you will find a 
trail of blood leading from that door (points to door, L. F.) 
to there (points down C, where Paul has stood) and from 
there to this door. (Points to door under stairs.) 



LEXINGTON. 49 

Dorothy {absolutely unstniiig). Oh, you've wounded 
him ! 

WiLLOUGHBY. I thought he was here, and your words 
at last admit it. (Draws his stvord and raps on door under 
stairs ivith it.) Paul Revere, come out! Come out, I say! 

Dorothy. He is not in there, Captain Willoughby. 

WiLLOUGHBY (snarling). A — h! Come out! 

Dorothy. He is not in there, and I will prove it to 
you. (Opens door which should open out into stage, and 
Paul, who has been on his knees, falls on floor. She throivs 
herself on Paul.) Oh, you have killed him! 

WiLLOUGHBY (bending over Paul). No, he has only 
fainted from loss of blood. (Takes Paul's pistol and lays 
it on stand, R.) 

Dorothy. Paul dear, Paul dear, speak to me ! 

WiLLOUGHBY. Miss Maddern, you would best leave the 
room and I will remove my prisoner at once. This is no 
place for a woman. 

Dorothy. My place is by his side, whatever happens. 

\\''iLLOUGHBY. Ah ! I was not aware. Then I suppose 
you will go with us. 

Dorothy. With you? 

WiLLOUGHBY. Of course. Revere is my prisoner and 
he must go with me. 

Dorothy. But, Captain Willoughby. you will surely 
not take him away now ! It would kill him. Wait until he 
is better. 

WiLLOUGHBY. No, he goes with me now ! 

Dorothy. But see, he is bleeding, unconscious, dying, 
perhaps ! I pray you, have some pity. 

WiLLOUGHBY. Pity ! What pity did he show the man 
he killed? No, he goes now! (Starts to door, L. F.) 

Dorothy. Wait! (He turns.) You will at least let me 
bind up his wound? 

WiLLOUGHBY. We Will attend to that when we get him 
to camp. 

Dorothy. But see how he bleeds! Oh, you must let me 
do this ! 

WiLLOUGHBY. Very well, it shall be as you wish. But 



50 LEXIXGTON. 

believe me, Miss Maddern, it is not mercy, but my love 
for you tbat prompts me to allow it. 

Dorothy (joyftilly). Tben }ou will not talce bim 
away ? 

WiLLOUGiiBY. I will take bim, but you may bind up 
bis wound. 

Dorothy. And you call tbat love ! A feeling- tbat 
prompts you to take into captivity, to deatb perbaps, away 
from me forever, tbe being I love most on eartb ! 

WiLLOuGHP.Y. I would be a pretty fool, wouldn't I, to 
leave bim bere in your arms, wben I want you — you ! 

Dorothy. Sbame on sucb a love ! A love tbat exists only 
for its own gratification. You don't know tbe meaning of 
tbe word ! Believing me untrue to bim, knowing tbat you 
were pursuing bim, running tbe risk of capture, Paul 
stopped bere tonigbt to warn me of tbe battle tomorrow — 
because be loved me. Ab, tbat is love ! 

WiLLOUGHBY. I must take bim away at once, and if you 
would tie up bis wound, be quick ! 

Dorothy. Tben belp me take bim to tbe window. 
(They half carry, half drag Paul to the window seat, L., 
and lay him on it.) In yonder room (pointing R.) you will 
find clotbs. Bring tbem to me. (Exit, Wh.loughby, D. R. 
Jill en he has left the stage Dorothy catches up pistol from 
stand, R., and stands pointing it toward D. R.) 

Enter Leslie, L. 1 E. 

Dorothy. Wbere are you going, ATr. Leslie? 

Leslie. Back, bebind tbe curtains and pull tbem to! T 
am going to finisb Revere's ride and save bim! (Exit, 
Leslie, door L. F. Dorothy stands beside Paul and pulls 
together the curtains 07'er the windozv, so that both are 
concealed. A shot outside, L.) 

Enter Ogline, door L. E., Willoughby, D. R., with 
cloths. 

Willoughby. Wbat was tbat sbot? Wbat is tbe matter? 
Ogfjne. Revere bas escaped! Tie just mounted and 
rode away! I fired, but missed bim! 



LEXINGTOX. 51 

WiLLOUGHBY. Hell! (Exit, WiLLOUGTiBY aiid Ogline, 
door L. F. Sound of hoof beats off stage.) 

Curtain. 

For first curtain call, curtains oz'cr zvindozv arc drawn 
back and Dorothy is kneeling beside the zvindoiv seat, 
Paul's head on her arm. 

For second call, Dorothy and j\Irs. Maddern are help- 
ing Paul to mount the stairs. 



Act IV. 

The scene the same as the act before. The next day. 
The doors are shut and bolted, the ivindozvs closed, the 
shutters fastened and the curtains drawn. The illumina- 
tion, while fully sufficient to reveal plainly the faces of the 
actors, is not that of full daylight. There is a quiet hush 
about the place, an air of nervous expectancy, and the work 
of the opening scene shoidd bear out this atmosphere. 

Dorothy is seated at the table dowp R., her arms 
stretched out upon it, and she is looking straight before 
her and listening intently, like one in a dream. 

Enter Polly, door, R. 

Polly {at C). Dorothy. 

Dorothy. Yes. 

Polly. What do you suppose this awful silence means? 

Dorothy. I don't know. My brain is so numbed by 
what has happened that I can't think any longer. 

Polly. Oh, it is terrible, terrible ! The fearful sound of 
firing this morning was nothing compared with this grim, 
suggestive stillness that follows it ! 

Dorothy. I wonder for how many of our poor fellows 
it is the beginning of a stillness that will last forever. 

Polly. Don't, Dorothy, please ! I can't bear it ! If some- 
thing would only happen, anything, I think it would be 
easier to bear than this awful suspense — the uncertainty of 
this horrible quiet. 

Dorothy. I wonder if the battle is over. 



52 LEXIXGTON. 

Polly. It must be, now that the firing- has ceased. 

Dorothy. Do you suppose we won, Polly ? 

Polly. I am afraid to think. Paul said last night that 
if the British retreated they would pass this way — 

Dorothy. Yes ? 

Polly. And the road is deserted. 

Dorothy. Is there no one in sight? 

Polly. Not a soul. Not a leaf is stirring. Nature 
seems shocked into insensibility, by what has happened. Oh, 
this awful silence! It is maddening! I only hope it means 
that we have overpowered the British. 

Dorothy. Do you think that a mere handful of men, 
gathered together in a few hours by that brave one up 
stairs, could stand before the thousands of soldiers that 
marched against them last night? Impossible. 

Polly. Well, if the battle is over we shall soon know 
the outcome. 

Mrs. Maddern comes down the stairs. 

Mrs. M. Dorj)thy! 

Dorothy. Yes, mother? 

Mrs. M. Have you seen anything of Matilda? 

Dorothy. No, I haven't seen her for — I haven't seen 
her at all today. I hadn't missed her. 

Mrs. M. I wonder where she is. I have been ringing 
for her for the last two hours. 

Dorothy. Perhaps the bell is broken. I will see if she 
is in the kitchen. (Exit, L. \ E.) 

Polly. How is Paul, Mrs. Maddern? 

Mrs. M. He is asleep, resting quietly. 

Polly. Did he hear the firing? 

Mrs. M. No ; he slept through it all. 

Polly. Thank God. Do you think he is dangerously 
wounded ? 

Mrs. M. I think not. It was a bad wound in the arm, 
and he is very weak from loss of blood, but the bleeding 
has stopped and he seems to have little or no fever. 

Enter Dorothy, L. 1 E. 



LEXINGTON. 53 

Dorothy. The bell is unimpaired and Matilda is no- 
where to be seen. 

Mrs. M. I wonder what can have become of her. Has 
the breakfast table been cleared ? 

Dorothy. No. 

Mrs. M. Could it be possible that anything has hap- 
pened to her? I am beginning to be worried. 

Dorothy (calls shrilly, almost hysterically). Matilda! 
Matilda! 

Mrs. M. Dorothy. Hush. You will wake Paul. 

Dorothy. Oh ! It is nervousness, mother. I am wrought 
up until I can hardly contain myself. 

Matilda opens door under stairs cautiously and pokes 
her head out. 

Matilda. Did you call me? 

Mrs. M. IVIatilda ! What are you doing in there? 

Matilda. Is dat fightin' over? 

Dorothy. Come out at once, Matilda ! 

Matilda. Is dat fighting over? 

Dorothy. Yes. Come out. 

Matilda (coming out cautiously and listening for 
sounds of battle). Yo' is shore dere ain't goin' to be no 
mo' shootin'? 

Mrs. M. We are sure of nothing, Matilda. All we 
know is that there is no shooting now. What were you 
doing in there? 

Matilda. Early dis mawnin' dis chile was paring pota- 
toes in de kitchen an' singin' jest as happy as a little bird. 
Den, all of a sudden, way off in Concord, I hears "Boom !" 
I stops my parin' and listens and den again I hears "Boom, 
boom, boom !" and dey was comin' nearer every "boom," 
and I — I — I's been in dat closet ever since. 

Mrs. M. Matilda, T want you to go up stairs and watch 
over Mr. Revere. He is sleeping. The moment he wakens, 
let me know. 

Matilda. Yes, ma'am. (Exit up the stairs.) 

Dorothy. How is Paul, mother? 

Mrs. M. He is resting quietly. 



54 . LEXINGTON. 

Dorothy. Do you tliink he will — die? 
Mrs. M. I am sure he will get well. 

(Sound of hoof beats off L.) 
Polly. Hoofbeats ! 
Dorothy. The British are retreating! 
Polly. Is the door bolted? 
Mrs. M. (at door, L. F.) Yes. 

(The hoofbeats stop.) 
Dorothy. They have stopped ! Tliey are comiug in ! 
What shall— 

(Knocking on door, L. F.) 

Polly. Don't open the door, Mrs. Maddern ! 
Dorothy. What shall we do? 

(The knocking is repeated.) 

CoTTRELL (outside). Mrs. Maddern! Mrs. Maddern! 

Polly (joyfully). Oh, it's father, it's father! Let him 
in, quick ! 

Mrs. Maddern opens the door and CoTTRiaj. enters, 
helping Curtls, 7vIio is ivonnded and has the hncer part 
of his face bandaged. 

Polly (rushes oz'cr to tJiein, L. C). Oh, father, what 
has happened? Are you hurt? 

Cottrell. No, daughter, I am unharmed. P>ut the red- 
coats got the best of Curtis. Give me a chair. (Mrs. Mad- 
dern places a chair, L. C. and Curtis sits.) 

Mrs. M. I will go and prepare a bed for him. 

Cottrell. Thank ye, Mrs. Maddern. (E.vit, Mrs. 
Maddern. door R.) 

Dorothy. Is the battle over, Mr. Cottrell? 

Cottrell. Yes, the worst of the fighting. 

Polly. Did we win ? 

Cottrell. Yes ; our boys are still pursuing the redcoats. 
Do you sufifer much, Curtis? (Curtis nods.) Poor fellow. 
We'll soon have you more comfortable and then ye won't 
sufifer so much. 

Polly. Have you seen anything of Mr. Leslie? 

Cottrell. No. 



LEXINGTON. 55 

Polly. Do you know whether he was wounded or not? 

COTTRELL. No. 

Polly. Were our losses heavy ? 

Mrs. M. (at door, R.) Bring him in here, Mr. Cottrell. 

Cottrell (helping Curtis to rise and leading him aeross 
stage to door, R.). Come, Curtis, we'll iix you up, and 
soon — (Curtis groans heavily.) Are ye sutfering so 
much ? 

Curtis. O — h ! 

Cottrell. There, there, it's only a few steps more. 
Come just a few steps more, and then — 

Curtis (in agony). Oh, God! 

Cottrell. Help me, Mrs. Maddern. (Mrs. M.xddern, 
Curtis and Cottrell exit, door R.) 

Polly (her voice filled zvith tears). Oh, Dorothy, isn't 
it awful that they should have to suffer so. (Sinks into 
chair, R.) 

Dorothy (throzvs herself on the floor beside Polly and 
buries her head in Polly's lap, sobbing). Polly! Polly! 

Polly. There, there, never mind, dear. You are all un- 
strung. We are both unstrung. 

Dorothy. If Paul should die it would kill me. 

Polly. He will not die, dear. The doctor says he will 
be all right. 

Dorothy (sobbing). Oh, Polly, I have been so wicked! 

Polly. There, dear, don't say that. 

Dorothy. It's true. I have broken the heart of the one 
I love most on earth. 

Polly. You still love him ? 

Dorothy. Yes. 

Polly. Then why did you — 

Dorothy. Because I was mad with my foolish ambi- 
tions. Because I did not realize that Paul, in his sturdy, 
honest manhood, was better than all the glitter and tinsel 
of the world. 

Polly. And Captain Willoughby? 

Dorothy. I never cared for him. He only represented 
the life I thought I wanted. But last night my eyes were 
opened. 



56 LEXINGTON. 

Polly. Come, Dorothy, dry your eyes, dear. Yon have 
learned your lesson, hard as it has been. 

Dorothy. Yes, I've learned my lesson, and paid for it 
with my happiness. 

Polly. Don't say that, Dorothy. Paul loves you yet, I 
am sure. 

Dorothy. Loves me ! No man can love a woman who 
has treated him as I have treated Paul. 

Matilda (couiing dozvn stairs). Miss Dorothy! Miss 
Dorothy ! 

Dorothy. Hush, Matilda. Mr. Curtis is in the next 
room, badly wounded. You must be quiet. 

Matilda (moderating her voice). But, Miss Dorothy, 
where's yo' ma? Mr. Revere, he — 

Dorothy. Oh, Matilda, is anything wrong-? 

Matilda. He insists on getting- up and I can't stop him. 

Dorothy. Tell mother, in the next room, but be very 
quiet. {Exit, Matilda, door R. Sound of hoof beats off L.). 

Polly. There comes some one. 

Dorothy. I wonder who it is. 

Leslie {off stage). Whoa, boy! 

Leslie enters door, L. F. 

Leslie. Girls, the battle's over ; we've — 

Polly (finger to lips). S — h! Mr. Curtis is in the next 
room, badly wounded. 

Leslie.- Curtis! Wounded? O — h! Can I do anything? 

Dorothy. No. Mr. Cottrell and mother are with him. 

Polly. You say the battle is over? 

Leslie. Yes. We have won. They are routed com- 
pletely. 

Paul appears on stairs, Jiis arm in a sling. 

Polly. Oh, it is too good to be true. I can hardly be- 
lieve it. 

Leslie. But tell me; how is Paul? 
Dorothy. Resting easily. 
Leslie. Are you sure he is out of danger? 
Paul. Absolutely. 



LEXINGTON. 57 

Leslie. Ah, old man, I rode all the way from Concord 
to hear those words. 

Paul. Did yon say we had won? (Comes ihnvit.) 

Leslie. Yes. 

Paul. Tell me abont it. 

Leslie. Well, a number of our men were gathered on 
the green at the other end of the village, early this morn- 
ing. When the redcoats appeared, Pitcairn shouted, "Dis- 
perse, you rebels. Lay down your arms !" Our men, far 
inferior in number, hesitated. The redcoats fired and seven 
of our brave fellows gave up their lives, the first martyrs 
to our cause. 

Dorothy. Oh, it's terrible ! 

Paul. And then? 

Leslie. Then our men were forced to retreat, which 
they did, slowly and stubbornly, until they were pushed 
back to Concord, where, thanks to Revere, they were met 
by reinforcements. 

Paul. And the battle? 

Leslie. There was no battle. When the redcoats saw 
our men swarming in from every direction, grim and de- 
termined, carrying muskets, rusty swords, knives, any- 
thing, they evidently deeemed discretion the better part of 
valor, and beat a retreat. Down the North Road they 
rushed in disorder, pell mell, while from behind rocks, 
trees, fences and buildings, in front, flank and rear, we 
avenged the blood of our murdered countrymen ! 

Paul. And what were their losses? 

Leslie. We don't know exactly, but they lost at least 
two hundred men. 

Paul. Then my ride last night was not without avail. 

Leslie. Ah, Revere, last night you made a ride that 
shall be recorded on the pages of history, and shall never 
be forgotten ! 

Paul. But you had a share in it. 

Leslie. A very humble share. 

Polly. Tell us what happened after you left here last 
night. 

Leslie. Nothing much. When I left the house I was 



58 LEXIXGTON. 

able to mount my horse before I was discovered. As I 
exjiected, the soldier mistook me for Paul. He fired, but 
missed me, and in the confusion of mounting and starting 
in pursuit, 1 was enabled to make a considerble gain on 
tiiem. They followed after me madly, and as J dashed 
along the road, when I passed a house I shouted, "To arms ! 
The British are coming!" in a voice that must have sounded 
like a bad Indian full of firewater. 

Paul. And did they not overtake you? 

Leslie. No. When I reached Concord I was met by 
reinforcements in the form of three very inebriated and 
very happy sailors, and my baflled pursuers, seeing them- 
selves beaten, were obliged to return without me. And now, 
Polly, I would like to have my breakfast. 

Polly. PTaven't you had your breakfast ? 

Leslie. Not a bite. I have been in the saddle ever since 
I left here last night. 

Polly. You poor man. Come, and you shall have all 
you can eat. (Exit Polly and Leslie, L. 1 E.) 

Dorothy. Paul, you should not have gotten up. You are 
as white as a ghost and trembling all over. You must lie 
down. 

Paul. I will be all right in a little while. There is so 
much to be done, I must go. 

Dorothy. No, Paul, please ! 

Paul. I must. Please thank your mother for me, for 
all she has done. You have both done more than I can ever 
repay. 

Dorothy. It was nothing, nothing. We only did our 
duty — our humble share in the work. 

Paul. P)Ut still I thank you. (Looks at Iicr loiis:;iiii^ly ; 
pause.) Good by. 

Dorothy. Good by. (Uc crosses to door, L. E.) Paid! 

Paul (turning). Yes? 

Dorothy. Paul, if I were to try — if I had the words at 
my command, and w^ere able to form them so as to tell you 
what is in my heart, I don't think I could ever make you 
understand quite how T feel — I — 

Paul. Why, Dorothy, what do you mean? 



LEXINGTON. 59 

Dorothy. O, Paul, Paul, my heart is almost broken — 
I have wronged you — I have done nothing- that was right — 
I am sorry — 1 — 

Paul. Dorothy! {She loohs envoy.) Dorothy, look at 
me! {She looks full at him for a moment and then hursts 
into deep, uncontrollable sobs.) Dorothy, do you mean that 
you still love me? 

Dorothy. Always. 

Paul (holding out his zvell arm). Come, little girl, come. 
(She rushes to him. ) 

Dorothy, O Paul, Paul ! (^Sobs.) 

Paul. There, little girl, never mind. It's all right. 

Dorothy. Can you forgive me? I did not know what T 
was doing. 

Paul. Say no more about it, sweetheart. It is all past 
now. Do you love me ? 

Dorothy. I love you more than my own soul ! 

Paul. Then nothing else in the world can matter. 

Enter Cottrell, door R. 

Cottrell (his voice filling up). Revere. 

Paul. Yes, Cottrell? 

Cottrell. Curtis — Curtis is — dead. 

Paul and Dorothy. Dead ! 

Cottrell. Yes, just this minute. Another martyr. An- 
other — martyr. My best friend. O, God! (He bursts into 
tears and exits, door R., follozved by Dorothy.) 

Hoofbeats off L. They stop and Willoughby enters, 
door L. F. 

Wn.LOUGHBY. Ah, there you are! I've been scouring the 
country for you ! 

Paul. Hush, Willoughby ! There's death in this house. 

Willoughby. Death ! Yes. and there's death in the Brit- 
ish ranks ; death untold, and you're responsible for it. There 
will be one more death here before I leave this house ! 

Paul. Look, Willoughby, I am crippled, unarmed, de- 
fenceless. To shoot me down would be murder. Would you 
do that? 

WILr.ouGHB^^ Enough of your whining. I have no pity 



60 LEXINGTON. 

for you, or your kind. (Draws his pistol.) Take that! 
(Snaps the pistol, zvhich fails to explode.) Ah! (Throivs 
pistol down and draws his s^oord. ) Now ! There'll be no 
failure this time ! 

Pauf. {looks about frantically and disco7u-rs a szvord 
ha)igi)ii::; on the ivaU, R. He jinnps up, tears if down tvith 
his good arm.) Now, eonie on. I'm ready for you! 

(They hght fast and furious, all over the room. Finally 
Paul disarms Willougiibv.) 

Paul (ealliiig). Leslie! Cottrell ! 

Enter Le.slie and Poija', L. 1 E., Cottrell, Dorothy 
a)id Mrs. Maddern, door K. 

Leslie. What is the matter? 

Cottrell. What is it, Revere? 

Paul. Take this man away and keep him safely. He is 
my share of today's work. (Willoughby rises and reaches 
for his sword.) You will leave your sword here, sir. You 
are a prisoner of war, (Exit, Cottrell and Leslie, door 
L. F., with Willoughby. Dorothy comes to Paul, C.) 
Well, sweetheart, we've won the first fight. 

Dorothy. Yes, and I hope it will be the last one. 

Paul. It won't be the last one, Dorothy ; it is only the 
beginning. But God grant that at the end we may win. 

Curtain. 



A Daughter of the Desert 

By CHARLES ULRICH. 

Price, 25 Cents 

A comedy-drama of the Arizona Plains, 4 acts; 6 m., 4 f. Time, 
214 h- Scenes: 2 interiors. Easy to set. Characters: Harold 
Morton, a railroad surveyor. Clarence Ogden, a rancher. Samuel 
Hopkins, a land speculator. Pedro Silvera, a Me.Klcan renegade. 
Jim Parker, a gambler. Bill Jones, a sure-fire sheriff. Ruth 
Arlington, a daughter of the desert. Mrs. Mary Ogden, a widow. 
White Bird, an Apache Indian girl. 

SYNOPSIS. 

Act I. — Clarence and Lucy have an adventure. "How dare you 
kiss a helpless girl, sir?" Silvera's charge. Your father was killed 
by Charles Morton. The avowal of love. Hopkins dotes on custard 
pies. The Apache outbreak. "If I die, clear my father's name." 

Act II. — "It's not my stomach, but my heart, papa." Clarence 
wounded. The arrest of Morton. White Bird's avowal. "We shall 
bring the guilty to justice." 

Act III. — How Silvera got a scar on the back of his hand. "I put 
it there with my sticker!" "I am a man of honor and my word is 
my bond." The rescue of Morton by cowboys. Ruth has the upper 
hand. Off to the Mexican line. 

Act IV. — "My husband ate two lemon pies and died." White Bird 
clears up the mystery. "Silvera shot him in back." Jones and 
Parker take a hand in the game. Ruth the richest girl in Arizona. 
Everybody happy. 

The Lonely ville Social Club 

By W. C. PARKER. 
Price, 23 Cents 

Comedy, 3 acts; 10 f. Time, IVz h. Exceedingly lively and 
humorous. 

SYNOPSIS. 

Act I. — Time hangs heavily on the hands of Mrs. Jack Newly- 
wed and Magda Peachblow, and they resolve to form a social club. 
The representative ladies of the village make a 9 o'clock general 
call. 

Act I presents Lonelyville's "four hundred." The stormy session 
of the benefit society. Gladys is both seen and heard. General con- 
fusion. 

Act II. — Mrs. Newlywed attempts to form the social club. Mrs. 
Purse Proud on her track. Discovered. A stormy scene. The 
determination to present "Uncle Tom's Cabin." 

Act III. — The town hall has been converted into a theater for 
the occasion. Gladys raises a row. Mrs. Steps and Mrs. Proud 
settle old scores. Ellen makes a show of herself. The performers 
are guyed by the "audience" and the performance cut short in 
disgust. The wlndup of the "Lonelyville Social Club." 

T. S. DENISON & COMPANY, Publishers 

154 W. Randolph Street. CHICAGO 



All A Mistake 

By W. C. PARKER. 
Price, 25 Cents 

Farce-comedy, 3 acts; 4 m., 4 f. Time, about 2 h. Scenes: Easy 
to set. Lawn at "Oak Farm" and drawing-room. Characters: 
Capt. Obadiali Skinner, a retired sea captain. Lieut. George Rich- 
inond, liis nepliew, who starts tlie trouble. Richard Hamilton, a 
country gentleman. Ferdinand Lighthead, who falls in love don- 
cherknow. Nellie Richmond, George's wife. Nellie Huntington, a 
friend. Nellie Skinner, antiquated but .still looking for a man. 
Nellie Mclntyre, a servant. 

SYNOPSIS. 

Act I. — The arrival of George and his bride. A friend in need. 
The old inaid and lier secret. Ferdy in search of a wife. George's 
jealousy. The sudden appearance of a most undesirable party. 
George's quick wit prevents discovery. 

Act II. — The plot thickens. Cornelia in search of her "Romeo." 
Tlie downfall of Ferdy. Richard attempts to try the "soothing 
system" on a lunatic. George has a scheme connected with a fire 
in the furnace and some pitch tar. Richard runs amuck amid gen- 
eral confusion. 

Act III.^ — The Captain arms himself with a butcher knife and 
plans revenge. Nellie hopelessly insane. The comedy duel. "Ro- 
meo" at last. "Only one Nellie in the world." The unraveling of 
a skein of mystery, and the finish of an exciting day, to find it was 
"All a Mistake." 

A Busy Liar 

By GEORGE TOTTEN SMITH. 
Price, 23 Cents 

Farce-comedy, 3 acts; 7 m., 4 f. Time, 2i/4 li. Scenes: Easy to 
set, 1 e.xterior, 2 interiors. Characters: Simeon Meeker, who told 
one lie. Judge Quakely. Senator Carrollton. Macbeth, a hot-headed 
Scotchman. Dick, in a matrimonial tangle. William Trott, a re- 
cruit. Job Lotts, another one. Mrs. MacFarland, everybody's 
friend. Tennie, with a mind of her own. Janet, a Scotch lassie. 
Mrs. Early, a young widow. 

SYNOPSIS. 

Act I. — Off to the war. A paternal arrangement of marriage. 
Janet of the Macbeth clan. Some complications. Meeker and the 
Widow. A lapse from truth. Meeker made captain. "You are 
afraid to go." "Afraid? Never!" 

Act II. — In camp. Captain Meeker and strict discipline. The 
Widow, the Judge and the Senator court-m.artialed. The Widow 
wins. Another lie and more complications. An infuriated Scotch- 
man. "You held her in your arms." "She is my wife." 

Act III. — The ball. "Not military matters, but matrimony." 
"Another of Meeker's fairy stories." The Captain in kilts. "'The 
funniest thing I ever saw." The Widow untangles a tangle of lies. 
A lass for every lad. Peace proclaimed. Meeker remains "at the 
base of supplies." 

T. S. DENISON & COMPANY, Publishers 

154 W. Randolph Street. CHICAGO 



The Honor of a Cowboy 

By CHARLES ULRICH. 

Price, 23 Cents 

Comedy-drama, 4 acts; 13 m., 4 f. Can be played with 8 m. by 
doubling. Time, 21/2 h. Scenes: Location, Montana, 2 exteriors, 
1 interior. Easy to set. Characters: Morley, a cowboy. Stanton, 
a road agent. .Jenkins, a sheriff. Judge Buckley. Selby, a true 
friend. Missouri Smith, who has seen better days. Maitland, an 
attorney. Scar Face, with a true Indian love for whisky. Mexican 
Pete, a renegade. Cowboys, Deputies, members of the gang, etc. 
Mary, with a fondness for the trail. Lucy, a school teacher. Mrs. 
Trevelyn, from New York. Jennie, a decided maid. 

SYNOPSIS. 

Act I. — An Indian with a long memory for spirits. A sheriff who 
is quick on the trigger. The Judge falls in love. The cowboys' 
race. Mary wins. The stage robbery. A cowboy in love. The 
story of Morley's past. "I am a convict." The accusation. "He 
is the stage robber." The repudiation. "I'll stick to you to the 
end." 

Act II. — Scar Face exposes a trick at cards. Mary saves Scar 
Face. The posse on the secret trail. A true man's search for his 
erring brother. The fight. Morley takes Stanton's place and gives 
himself up to the posse. A faithful girl's despair. "I do this to 
save him." 

Act III. — The proposal to rescue Morley. "I will not allow my 
brother to sacrifice himself for me." The shooting of Pete. Stan- 
ton is killed. Morley returns. The bier. "Jack, would I could have 
died for you." 

Act IV. — Jenkins gives his graveyard to Lucy and then gives up 
his gun. The proposal of marriage. Cowboys hear of the wedding. 
They present the bride with "some things." Morley a millionaire. 
Selby to be best man. The wedding march. 

The Lod^e o£ Kye Tyes 

By CHARLES HASSON. 
Price, 23 Cents 

A burlesque initiation; 13 m. and any number of members. Time, 
about 1 h. Scene: A lodge room. Characters: Barrington Bings, 
most worshipful Kye Tye. Sic Semper Maginnis, noble scribe. Rip 
Van Winklestein, past grand sage. Burnham Hott, guardian of the 
caldron. Candidates: Michael Mulcaliey, Fritz Dinkhaus, Ole Sven- 
son, Wun Lung, Antonio Spagetti and Slipsky Kragovich. Comical 
costumes, hilarious lines and ridiculous, side-splitting business. A 
"fun-maker" for any club, but particularly suitable for secret soci- 
eties. Contains nothing that will offend. 

"We were more than pleased with 'The Lodge of Kye Tyes.' " — 
Jesse D. Roth, Elwood, Ind. 



T. S. DENISON & COMPANY, Publishers 

154 W. Randolph Street, CHICAGO 



The Heiress of Hoetown 

By HARRY L. NEWTON AND JOHN PIERRE ROACH. 
Price, 25 Cents 

A rural comedy, 3 acts; S m., 4 f. Time, 2 h. Scenes: 2 ex- 
teriors. Characters: Jimmie Blalie, a physical culturist. Jack 
Wright, a civil engineer. iJzra Stonyboy, the postmaster. Count 
Picard, waiting at the church. Corporal Cannon, a veteran. White 
Blackstone, dealer in titles. Congressman Drybottle, a power in 
politics. Doolittle Much, constable and proprietor of the village 
hack. Mary Darling, an heiress. Jane Stonyboy, with ideas. Tillie 
Tung, the village pest. 

SYNOPSIS. 

Act I. — Borrowing a screen door. Blackstone, a dealer in titlos. 
Mary comes back home. Blackstone wants Jimmie to travel for his 
health. "One hundred thousand dollars as expense money." "No, 
I am going to a strawberry festival and that's worth more to me." 
The lost necklace. The proprietor of the village hack discovers 
something. "She's a fine gal, she is." 

Act II. — The Strawberry Festival. Blackstone schemes a quick 
marriage. A busy time for Doolittle Much. "Search that man, 
Constable!" The necklace is found on the wrong man. "Any man 
caught with no visible means of support can be arrested as a com- 
mon vag." The Count is "pinched." 

Act III. — The siege of Hoetown. The Count works out his fine 
on the highway. "Shark, you're a liar!" The financial panic and 
the loss of Mary's money. The Count and Blackstone get "cold 
feet" and hike for old Broadway. Mary loses her home. "Come 
on, kid, I've got carfare." 

Mirandy's Minstrels 

By SOPHIE HUTH PERKINS. 

Price, 25 Cents 

A Female Minstrel entertainment. A complete ladies' minstrel 
show, full of novel ideas for costumes, finale, etc. Contains new 
jokes, gags, cross-fires, monologues and stump speeches. Ending 
with a most laughable farce, "Mrs. Black's Pink Tea," for 10 
female characters, which is a gem of humor. Those that have 
"put on" female minstrels and know the difficulty of obtaining suit- 
able material, will be delighted with this book. It is highly humor- 
ous, yet refined enough for any audience. 

The Third Decree 

By MAYME RIDDLE BITNEY. 

Price, 25 Cents 

A female burlesque initiation; 12 f. and any number of members. 
Time, about 40 m. Scene: Any lodg-^ room. Characters: Head 
Officer, Instructors, Assistants, Marshal, Doorkeepers, etc. It is 
unique, as it can be used as an initiation for any society or lodge or 
as an entertainment. Brim full of fun and action, yet not too bois- 
terous. Will please all women. 

T. S. DENISON & COMPANY, Publishers 

194 W. Randolph Street, CHICAGO 



DENISON'S ACTING PLAYS. 

Price IS Cents Each. Postpaid. Unless Different Price is Given. 



Documentary Evidence, 25 min. 1 1 

Dude in a Cyclone, 20 min.... 4 2 

Family Strike, 20 min 3 3 

First-Class Hotel, 20 min 4 

For Love and Honor, 20 min . . 2 1 

Fudge and a Burglar, IS min.. 5 
Fun in a Photograph Gallery, 

30 min 6 10 

Great Doughnut Corporation, 

30 min 3 5 

Great Medical Dispensary, 30 m. 6 
<^reat Pumpkin Case, 30 min... 12 

Hans Von Smash, 30 min 4 3 

Happy Pair, 25 min 1 1 

I'm Not Mesilf at All, 25 min. 3 2 
Initiating a Granger, 25 min.. 8 

Irish Linen Peddler, 40 min... 3 3 

Is the Editor In? 20 min 4 2 

Kansas Immigrants, 20 min.... S 1 

Men Not Wanted, 30 min 8 

Mike Donovan's Courtship, IS m. 1 3 

Mother Goose's Goslings, 30 m. 7 9 

Mrs. Carver's Fancy Ball, 40 m. 4 3 
Mrs. Stubbins' Book Agent, 30 

min 3 2 

My Lord in Livery, 1 hr 4 3 

My Neighbor's Wife, 45 min... 3 3 

My Turn Next, 45 min 4 3 

My Wife's Relations, 1 hr 4 6 

Not a Man in the House, 40 m. 5 

Obstinate Family, 40 min 3 3 

Only Cold Tea, 20 min 3 3 

Outwitting the Colonel, 25 min. 3 2 

Pair of Lunatics, 20 min 1 1 

Patsy O'Wang, 35 min 4 3 

Pat, the Apothecary, 35 min... 6 2 

Persecuted Dutchman, 30 min.. 6 3 

Regular Fix, 35 min 6 4 

Rough Diamond, 40 min 4 3 

Second Childhood, 15 min 2 2 

Slasher and Crasher, 50 min... 5 2 

Taking Father's Place, 30 min.. 5 3 

Taming a Tiger, 30 min 3 

That Rascal Pat, 30 min 3 2 

Those Red Envelopes, 25 min. 4 4 
Too Much of a Good Thing, 45 

min 3 6 

Treasure from Egypt, 45 min . 4 1 

Turn Him Out, 35 min 3 2 

Two Aunts and a Photo, 20 m.. 4 

Two Bonnycastles, 45 min 3 3 

Two Gentlemen in a Fix, 15 m. 2 

Two Ghosts in White, 20 min.. 8 

Two of a Kind, 40 min 2 3 

Uncle Dick's Mistake, 20 min.. 3 2 

Wanted a Co-respondent,' 45 m. 4 4 

Wanted a Hero, 20 min 1 1 

Which Will He Marry? 20 min. 2 8 

Who Is Who? 40 min 3 2 

Wide Enough for Two, 45 min. 5 2 

Wrong Baby, 25 min 8 

Yankee Peddler, 1 hr 7 3 



VAUDEVIllE SKETCHES. W.ON- 
OLOGUES. ETHIOPIAN PLAYS. 

M. F. 

Ax'in' Her Father, 25 min 2 3 

Booster Club of Blackville, 25 m.lO 
Breakfast Food for Two, 20 m.. 1 1 

Cold Finish, 15 min 2 1 

Coon Creek Courtship, IS min.. 1 1 
Coontown Thirteen Club, 25 m. 14 

Counterfeit Bills, 20 min 1 1 

Doings of a Dude, 20 min 2 1 

Dutch Cocktail, 20 min 2 

Five Minutes from Yell College, 

15 min 2 

For Reform, 20 min 4 

Fresh Timothy Hay, 20 min... 2 1 
Glickman, the Glazier, 25 min.. 1 1 
Handy Andy (Negro), 12 min.. 2 

Her Hero, 20 min 1 1 

Hey, Rube! 15 min 1 

Home Run, 15 min 1 1 

Hot Air, 25 min 2 1 

Jumbo Jum, 30 min 4 3 

Little Red School House, 20 m. 4 

Love and Lather, 35 min 3 2 

Marriage and After, 10 min... 1 
Mischievous Nigger, 25 min... 4 2 

Mistaken Miss, 20 min 1 1 

Mr. and Mrs. Fido, 20 min 1 1 

Mr. Badger's Uppers, 40 min.. 4 2 
One Sweetheart for Two, 20 m. 2 
Oshkosh Next Week, 20 min.. 4 

Oyster Stew, 10 min 2 

Pete Yansen's Gurl's Moder, 10 

min 1 

Pickles for Two, 15 min 2 

Pooh Bah of Peacetown, 35 min. 2 2 
Prof. Black's Funnygraph, 15 m. 6 

Recruiting Office, 15 min 2 

Sham Doctor, 10 min 4 2 

Si and I, 15 min 1 

Special Sale, 15 min 2 

Stage Struck Darky, 10 min... 2 1 
Sunny Son of Italy, 15 min... 1 

Time Table, 20 min 1 1 

Tramp and the Actress, 20 min. 1 1 
Troubled by Ghosts, 10 min... 4 
Troubles of Rozinski, 15 min.. 1 
Two Jay Detectives, 15 min... 3 

LTmbrella Mender, 15 min 2 

Uncle Bill at the Vaudeville, 15 

min 1 

Uncle Jeff, 25 min 5 2 

Who Gits de Reward? 30 min.. 5 1 



A iireat number of 

Standard and Amateur Plays 

not found here are listed in 

Denison's Cataloi^ue. 



T. S. DENISON & COMPANY. 154 W. Randolph St.. Chicago 



POPULAR ENTERTAII 

Price. Illustrated Paper Cov< 



/-.S"^ O*" CONGRESS 




IN this Series 
are found 
books touching 
every feature 
in the enter- 
tainment field. 
Finely made, 
good paper, 
clear print and 
each book has 
an attractive 
individual cov- 
er desigrn. 



DIALOGUES 

All Sorts of Dialo|{ues. 

Selected, fine for older pupils. 
Catchy Comic Dialoiiues. 

New, clever; for young people. 
Children's Comic Dialoiiues. 

From six to eleven years of age. 
Dialogues from Dickens. 

Thirteen selections. 
The Friday Afternoon Dialoiiues. 

50,000 copies sold. 
From Tots to Teens. 

Dialogues and recitations. 
Lively Dialogues. 

For all ages; mostly humorous. 
When the Lessons are Over. 

Dialogues, drills, plays. 
Wide Awake Dialoiiues. 

Brand new, original, successful. 

SPEAKERS. MONOLOGUES 

Choice Pieces for Little People. 

A child's speaker. 

The Comic Entertainer. 

Recitations, monologues.dialogues. 

Dialect Readiniis. 

Irish, Dutch, Negro, Scotch, etc. 

The Favorite Speaker. 

Choice prose and poetry. 

The Friday Afternoon Speaker. 
For pupils of all ages. 

Humorous Monologues. 
Particularly for ladies. 

Monologues for Younii Folks. 
Clever, humorous, original. 

The Patriotic Speaker. 

Master thoughts of masterminds. 

The Poetical Entertainer. 
For reading or speaking. 

Pomes ov the Peepul. 

Wit, humor, satire; funny poems. 

Scrap-Book Recitations. 

Choice collections, pathetic, hu- 
morous, descriptive, prose, poe- 
try. 14 Nos., per No. 2Sc. 




015 793 059 fl 



The Best Drill Book. 

Very popular drills and marches. 
The Favorite Book of Drills. 

Drills that sparkle with originality. 
Little Plays With Drills. 

For children from 6 to 11 years. 
The Surprise Drill Book. 

Fresh, novel, drills and marches. 

SPECIALTIES 

The Boys* Entertainer. 

Monologues, dialogues, drills. 
Children's Party Book. 

Plans, invitations, decorations, 

games. 
The Days We Celebrate. 

Entertainments for all the holidays. 
Good Things for Christmas. 

Recitations, dialogrues, drills. 
The Little Folks, or Work and Play. 

A gem of a book. 
Little Folks' Budget. 

Easy pieces to speak, songs. 
One HlHidred Entertainments. 

New parlor diversions, socials. 
Patriotic Celebrations. 

Great variety of material. 
Pranks and Pastimes. 

Parlor games for children. 
Shadow Pictures. Pantomimes. 

Charades, and how to prepare. 
Tableaux and Scenic Readinffs. 

New and novel; for all ages. 
Twinkling Fintiers and Swaying 

Figures. For little tots. 
Yuletide Entertainments. 

A choice Christmas collection. 

HAND BOOKS 

The Debater's Handbook. 

Bound only in cloth, 30c. 
Everybody's Letter Writer. 

A handy manual. 
Good Manners. 

Etiquette in brief form. 
Private Theatricals. 

How to put on plays. 
Social Card Games. 

Complete in brief form. 

MINSTRELS. JOKES 

Black American Joker. 

Minstrels' and end men's gags. 
A Bundle of Burnt Cork Comedy. 

Monologues, stump speeches,etc. 
Lauiihiand. via the Ha-Ha Route. 

A merry trip for fun tourists. 
Ne^ro Minstrels. 

All about the business. 
The New Jolly Jester. 

Fu-nny stories, jokes, gags, etc. 

Lmrie Illustrated Cataloiiue Free. 



T. S. DENISON & COMPANY. Publishers. 154 W. Bandoiph St.. Chicaio 



